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Pros: Help us get a grip on practical mixing technique using available multi-track Studio Monitors
Old 8th April 2018
  #31
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FreshProduce's Avatar
Quote:
Originally Posted by Quetz View Post
This is what I meant when I said read my posts. I've made it quite clear that I would be more than happy to apprentice. In fact, that would be my preferred solution.
You seem unbelievably keen to go on the attack on issues I've already shown I understand and appreciate.


I know that it was a big ask. I'm pretty sure I made that clear already.
I'm starting to realise the naivety of thinking that someone might actually find it fun, and a chance to show a generosity of spirit, which most have in one way or another.

As far as learning goes, it's a great idea. If that learning experience in your eyes should only be accessible with money, then I think that's a shame.
I understand why you would think that way, and it's not my place to say you shouldn't. But there are many different ways to approach life and I've always found that shutting doors instead of opening them is rarely that productive.

To each their own.



That's a very fair point. It's not altruistic.



Some here would insist that pay for it is what I must do.



Haha. Ok, I will. I'm becoming increasingly aware that after all the heated debate, I've now got to post a mix here tomorrow. No pressure
Trust me man.. I wish the world weren't so obsessed with making a buck. I would love to be able to learn from some big names free of charge.. but unfortunately that's just not how 'the professional world', works. Interning would probably be your best bet.. but be ready to provide some of your work so they know you're not just some common theif or the sort.

No hard feelings.. I'm not trying to 'attack' you.. but I'm not the type of person to let my fellow human beings get carried away and believe something that is highly unlikely is gonna happen just by asking.

If you have the intention to learn from a pro.. carry that intention around with you.. and just maybe if you're very lucky.. you can become friends with someone special who will help guide you.
I, myself have been so lucky in the past and have obtained a mentor in music.. however I wasn't actively looking for one, when it happened. I've found that searching frantically for something will lead you to coming up empty handed.. but the moment you stop seaching, it sometimes becomes apparent to you.

Good luck with your journey, guy.
Old 8th April 2018
  #32
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Quetz's Avatar
Not everyone is obsessed with making a buck.
I'm sacrificing earnings for time at the moment, but that's a conscious decision and I'm happy to make it.

And sometimes, you do just have to ask.
Me making a bit of noise shouldn't be so offensive to you.

But I do agree with your comment about carrying the intention, it hasn't crystallised into one until now.

I'm not on some mystical quest. I just want to be a good mix engineer, and I don't want it to take as long as it is, which is way too slow, even by learning to mix well standards.

Yes, that's self-centred. Because it's me that's asking.
Old 9th April 2018
  #33
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Quote:
Originally Posted by Quetz View Post
Not everyone is obsessed with making a buck.
I'm sacrificing earnings for time at the moment, but that's a conscious decision and I'm happy to make it.

And sometimes, you do just have to ask.
Me making a bit of noise shouldn't be so offensive to you.

But I do agree with your comment about carrying the intention, it hasn't crystallised into one until now.

I'm not on some mystical quest. I just want to be a good mix engineer, and I don't want it to take as long as it is, which is way too slow, even by learning to mix well standards.

Yes, that's self-centred. Because it's me that's asking.
The guys you wanna sound like have spend tens of thousands of hours at their craft.

There are no shortcuts.
Old 9th April 2018
  #34
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Quote:
Originally Posted by Quetz View Post
And sometimes, you do just have to ask.
Me making a bit of noise shouldn't be so offensive to you.

But I do agree with your comment about carrying the intention, it hasn't crystallised into one until now.

I'm not on some mystical quest. I just want to be a good mix engineer, and I don't want it to take as long as it is, which is way too slow, even by learning to mix well standards.

Yes, that's self-centred. Because it's me that's asking.
So what's the problem? Hasn't bill5 volunteered to mix the tracks for you and tell you how he did it?
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Old 9th April 2018
  #35
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Muser's Avatar
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Originally Posted by Dana_T. View Post

P.s. Conrad charges $75.00 per song and he is the biggest dawg on the porch in this area. If you pm me, I will send you a link to my Dropbox account. Send me your files and I will show you just how easy your request is! Please keep in mind that "I am just a weirdo crunching on cheerios"!
I'm unclear about whether or not you're willing to mix some material for free and then provide an explanation about what exactly you did.
Old 9th April 2018
  #36
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Quote:
Originally Posted by joeq View Post
So what's the problem? Hasn't bill5 volunteered to mix the tracks for you and tell you how he did it?
There's no problem from my point of view. I'm sorry that I offended someone, obviously, but everyone else has been very understanding and supportive with their attitude, which has been appreciated, mix or no mix!

I added so many disclaimers to my original posts because I do actually think, and had anticipated some degree of hostility to what I conceded right from the outset was a big ask, and that I understood if it wouldn't be possible.

At the end of the day, I honestly thought it would be a fun exercise

I was looking at it from the perspective that it would be easier for someone to help if they had the same raw tracks in front of them, not more of a burden. That was stupid.
Old 9th April 2018
  #37
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Originally Posted by Muser View Post
I'm unclear about whether or not you're willing to mix some material for free and then provide an explanation about what exactly you did.
Well, yes and no. If the OP sends me their files, I will do a screen cast on the procedure I use for mixing. I will show what I do from step 1 to however many steps it make take. The first thing I will do is to check what input level they recorded at and if there is any clipping. Then there are other things I check as well. Then I will do the mix the way it sounds good to me.

I will then shoot the files over to Blue Room, eat the $75.00 and have it mastered. If I have any issues with the original raw files or my mix, I will ask two questions concerning my thoughts.

I never try and overwhelm anyone when I ask advice. I am confident that they will address my issues, if any exist. This will accomplish three things. 1. It will help develop my skills in the mixing arena. 2. Blue Room may receive a new customer if the OP likes their work. 3. It will help answer some of the OPs questions so they can expand their skills as well.

Honestly, half the reply's in this post make no sense to me at all. I can assure anyone reading this post that by a Professional Recording Studio helping someone further their skills in the mixing and mastering arena, will not be concerned that that person is going to be taking clients from them, as has been suggested.

I see the amount of post you have so it seems that you are in it for the long haul. So let me ask you this, if some band sent you some tracks and said: "we are trying to improve our skills as a band. We have x amount of mics and we are using Reaper to do our mixing and we are using xyz to record into, after you master our song, is their any advice you could give us concerning mic placement to help us get a better sound"? Would you honestly tell them that you do not give advice away for free?

Now, lets take that same request and say something like, "Hey Recording Studio B, we are a five member band and we want to cut a demo with you. We need some help with our mic placement and we have other questions as well". IMHO if that studio tells them they do not give advice for free, then they just lost a customer. Any thoughts?
Old 9th April 2018
  #38
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Quote:
Originally Posted by Quetz View Post
There's no problem from my point of view. I'm sorry that I offended someone, obviously, but everyone else has been very understanding and supportive with their attitude, which has been appreciated, mix or no mix!

I added so many disclaimers to my original posts because I do actually think, and had anticipated some degree of hostility to what I conceded right from the outset was a big ask, and that I understood if it wouldn't be possible.

At the end of the day, I honestly thought it would be a fun exercise

I was looking at it from the perspective that it would be easier for someone to help if they had the same raw tracks in front of them, not more of a burden. That was stupid.
Any reason you have not taken me up on my offer?
Old 9th April 2018
  #39
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Muser's Avatar
Quote:
Originally Posted by Dana_T. View Post
Well, yes and no. If the OP sends me their files, I will do a screen cast on the procedure I use for mixing. I will show what I do from step 1 to however many steps it make take. The first thing I will do is to check what input level they recorded at and if there is any clipping. Then there are other things I check as well. Then I will do the mix the way it sounds good to me.

I will then shoot the files over to Blue Room, eat the $75.00 and have it mastered. If I have any issues with the original raw files or my mix, I will ask two questions concerning my thoughts.

I never try and overwhelm anyone when I ask advice. I am confident that they will address my issues, if any exist. This will accomplish three things. 1. It will help develop my skills in the mixing arena. 2. Blue Room may receive a new customer if the OP likes their work. 3. It will help answer some of the OPs questions so they can expand their skills as well.

Honestly, half the reply's in this post make no sense to me at all. I can assure anyone reading this post that by a Professional Recording Studio helping someone further their skills in the mixing and mastering arena, will not be concerned that that person is going to be taking clients from them, as has been suggested.

I see the amount of post you have so it seems that you are in it for the long haul. So let me ask you this, if some band sent you some tracks and said: "we are trying to improve our skills as a band. We have x amount of mics and we are using Reaper to do our mixing and we are using xyz to record into, after you master our song, is their any advice you could give us concerning mic placement to help us get a better sound"? Would you honestly tell them that you do not give advice away for free?

Now, lets take that same request and say something like, "Hey Recording Studio B, we are a five member band and we want to cut a demo with you. We need some help with our mic placement and we have other questions as well". IMHO if that studio tells them they do not give advice for free, then they just lost a customer. Any thoughts?
I'm currently just trying to clarify what you are offering. when you say, you'll eat the £75.00, are you saying you will pay for the mastering as well as do the mixing job for free ?
Old 9th April 2018
  #40
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Originally Posted by Muser View Post
I'm currently just trying to clarify what you are offering. when you say, you'll eat the £75.00, are you saying you will pay for the mastering as well as do the mixing job for free ?
Yes, you are 100% correct. I am a little baffled as why the OP has not contacted me. I know that some will start a post only to start a debate or a flame war, but I truly do not think this is the case. When I do these things I have mentioned, I do not make them public nor do I criticize the performers skills.

However, if someone send me a bunch of stems/files with reverb, compression, and any other special effects, that were recorded way to hot and doing nothing but clipping, then there is very little I can do. If the OP does contact me, then this is what I would have requested.

1. Send me the raw files with no effects via the computer.
2. Send me a sample of how you mixed it or provide me with some information on any effects you want added so I can get a flavor of what you are trying to achieve.

Trust me, as I am sure you already know, a polished turd is still a turd and I have sent many files back as there was simply nothing I could do. I just made this post, to settle the argument of whether Pros give their advice away for free or not. This is absolutely the best video I have ever seen that covers 99.9% of tracking, mixing and mastering, on a beginners to intermediate level.
Old 9th April 2018
  #41
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Muser's Avatar
Quote:
Originally Posted by Dana_T. View Post
Yes, you are 100% correct. I am a little baffled as why the OP has not contacted me. I know that some will start a post only to start a debate or a flame war, but I truly do not think this is the case. When I do these things I have mentioned, I do not make them public nor do I criticize the performers skills.

However, if someone send me a bunch of stems/files with reverb, compression, and any other special effects, that were recorded way to hot and doing nothing but clipping, then there is very little I can do. If the OP does contact me, then this is what I would have requested.

1. Send me the raw files with no effects via the computer.
2. Send me a sample of how you mixed it or provide me with some information on any effects you want added so I can get a flavor of what you are trying to achieve.

Trust me, as I am sure you already know, a polished turd is still a turd and I have sent many files back as there was simply nothing I could do. I just made this post, to settle the argument of whether Pros give their advice away for free or not. This is absolutely the best video I have ever seen that covers 99.9% of tracking, mixing and mastering, on a beginners to intermediate level.
thanks for the clarification. given the development of the thread so far then, it's probably prudent to await the OP's response. my views are complex on these matters, but generally they are artist centric. so I'll refrain from sharing them as they may just muddy the waters in this case.
Old 9th April 2018
  #42
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Originally Posted by Muser View Post
thanks for the clarification. given the development of the thread so far then, it's probably prudent to await the OP's response. my views are complex on these matters, but generally they are artist centric. so I'll refrain from sharing them as they may just muddy the waters in this case.
Sorry about the confusion. You can always send me a PM. I am a firm believer on "Giving Back" or in this day and age "Pay it Forward". It was instilled in me as a child and for some unknown reason, it has open many doors concerning my career in the audio industry. And to be perfectly clear, I have no use for "Karma".
Old 9th April 2018
  #43
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Muser's Avatar
Quote:
Originally Posted by Dana_T. View Post
Sorry about the confusion. You can always send me a PM. I am a firm believer on "Giving Back" or in this day and age "Pay it Forward". It was instilled in me as a child and for some unknown reason, it has open many doors concerning my career in the audio industry. And to be perfectly clear, I have no use for "Karma".
no worries. I was trying to explain to someone I know the other day, how cause and effect isn't what it used to be.
I may PM you if I get it together.
Old 9th April 2018
  #44
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Old 9th April 2018
  #45
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dights's Avatar
 

Quote:
Originally Posted by Dana_T. View Post
Yes, you are 100% correct. I am a little baffled as why the OP has not contacted me. I know that some will start a post only to start a debate or a flame war, but I truly do not think this is the case. When I do these things I have mentioned, I do not make them public nor do I criticize the performers skills.

However, if someone send me a bunch of stems/files with reverb, compression, and any other special effects, that were recorded way to hot and doing nothing but clipping, then there is very little I can do. If the OP does contact me, then this is what I would have requested.

1. Send me the raw files with no effects via the computer.
2. Send me a sample of how you mixed it or provide me with some information on any effects you want added so I can get a flavor of what you are trying to achieve.

Trust me, as I am sure you already know, a polished turd is still a turd and I have sent many files back as there was simply nothing I could do. I just made this post, to settle the argument of whether Pros give their advice away for free or not. This is absolutely the best video I have ever seen that covers 99.9% of tracking, mixing and mastering, on a beginners to intermediate level.
As far as I am aware the multitrack the OP wants you to mix is one that's freely available. It's already been mixed and explained by Mike Senior in a Sound On Sound - Mix Rescue article.

The link to the files is in the first post.
Old 9th April 2018
  #46
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Muser's Avatar
I guess the OP requires someone who normally gets paid to mix as a profession, to suspend being paid for the sake of clarifying what it is they do, in order to justify the payment.

so I guess, assuming Dana_T may have previously or is still currently paid to mix, then technically that might fulfil that requirement. unless the OP has specific criteria regarding the frequency and currency to which this payment must be maintained.

and if we also take into account that this all must occur at the same time as providing a clear explanation about what is being done to the mix, at the time of mixing. and assuming the given mixer fulfils some given degree of excellence by which the OP feels is worth paying for. or rather, not worth paying for in this case. if you get my drift.

maybe some of this might explain the OP's reticence in responding to Dana_T. so far. I'm not sure.

I'm hoping the OP may be able to clarify some of these details.
Old 9th April 2018
  #47
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Quote:
Originally Posted by Muser View Post
I guess the OP requires someone who normally gets paid to mix as a profession, to suspend being paid for the sake of clarifying what it is they do, in order to justify the payment.

so I guess, assuming Dana_T may have previously or is still currently paid to mix, then technically that might fulfil that requirement. unless the OP has specific criteria regarding the frequency and currency to which this payment must be maintained.

and if we also take into account that this all must occur at the same time as providing a clear explanation about what is being done to the mix, at the time of mixing. and assuming the given mixer fulfils some given degree of excellence by which the OP feels is worth paying for. or rather, not worth paying for in this case. if you get my drift.

maybe some of this might explain the OP's reticence in responding to Dana_T. so far. I'm not sure.

I'm hoping the OP may be able to clarify some of these details.
Not sure what you mean.

I thought Dana_T said they'd do it for free and even pay for mastering.

The files are there if Dana_T wants to do it?
Old 9th April 2018
  #48
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Originally Posted by dights View Post
As far as I am aware the multitrack the OP wants you to mix is one that's freely available. It's already been mixed and explained by Mike Senior in a Sound On Sound - Mix Rescue article.

The link to the files is in the first post.
I may have missed them so I went back to check, still could not find the links to the audio. I am very glad you brought this to my attention. I honestly thought this was a mix the OP had recorded.


Quote:
Originally Posted by Muser View Post
I guess the OP requires someone who normally gets paid to mix as a profession, to suspend being paid for the sake of clarifying what it is they do, in order to justify the payment. so I guess, assuming Dana_T may have previously or is still currently paid to mix, then technically that might fulfil that requirement. unless the OP has specific criteria regarding the frequency and currency to which this payment must be maintained.
I have been in the audio industry for over 40 years. Set my two children and three grandchildren through collage from the profits I made. They did not go to Harvard, but both my children make 6 digit figures a year. Their kids will get there after they pay their dues.

Quote:
and if we also take into account that this all must occur at the same time as providing a clear explanation about what is being done to the mix, at the time of mixing. and assuming the given mixer fulfils some given degree of excellence by which the OP feels is worth paying for. or rather, not worth paying for in this case. if you get my drift.
Just ask any drummer worth their salt how easy this is to do. A person who knows their job can tap the keyboard, turn on the cams and explain what they are doing, just as easy as they breath. It is not rehearsed, It is what I refer to, as well as the rest of society, as being "Second Nature". You have done it so often it just comes natural.

Quote:
maybe some of this might explain the OP's reticence in responding to Dana_T. so far. I'm not sure. I'm hoping the OP may be able to clarify some of these details.
By his lack of doing so, it seems he already has. Now, since this post is going nowhere, I will unsubscribe to it, as soon as I hit submit reply. To any and all evolved in this FUBAR, happy recording and do it as you see fit!

Last edited by Dana_T.; 9th April 2018 at 07:28 PM.. Reason: Left out the quote brackets and spelling..
Old 9th April 2018
  #49
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Quetz's Avatar
Any reticence has been down to me being at work

I spent today trying to get this mix as good as I could, so this is literally the best I can do.

Player is at bottom of post.
I'll list some relevant mix notes so you can see my thinking. Any info that anyone needs to make giving advice easier for them, please let me know.

I manufactured an intro of sorts, and thanks to advice already received, scooped less out of the guitars and cello, and worked out why I was fighting the guitars so much in the first place - I wasn't going to divulge but you probably heard it, I had two stereo guitar files, hard panned.

Even after recovering from that, still not happy about the guitars, and I don't know if it's me being crap or that they don't sound good enough full stop. Bit of both most likely.
If anything I've learned from this how important a good recording engineer is.

I 're-amped' the bass DI track to Ampire, Studio One's built-in amp sim, and sent quite a lot of the cellos there as well.
Parallel comp on drumbuss - 1176.

This was the first track I mixed using Console 1, so all channels are on the SL4000, and there's varying degrees of drive/character everywhere.

I used 2 reverbs - one main blend one (Softube TSAR-1R) for all instruments plus a drum plate (UAD 140) for the drumbus.

There's also Softube Tape on the Drumbuss, and somewhere else, I think.
I also took a sample of noise from the cello recording and laid that out across the whole song, very quiet, to try and fill in where the cello parts had been cut.
I mixed into the Softube Drawmer S73 on the 2bus, and put a dialled back UAD Pultec Pro Legacy master preset on there as well.
I think that's about it.
There's the Softube Tube Delay on a couple of mando phrases.
That Tube Delay, the TSAR-1R and the S73 all came free with my Focusrite interface. Bargain!

It's the depth and space that I still need to work out how to open up, my reverb techniques are limited, for one thing, plus I'm not covering half the eq angles I should either, I know I'm not being creative enough with it.
Ok. Thanks in advance for any pointers, if there are any really pokey sounds, that'll be my room..
Attached Files

James May_On the Line_Quetz Mix.mp3 (10.72 MB, 203 views)

Old 9th April 2018
  #50
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Muser's Avatar
Quote:
Originally Posted by Dana_T. View Post
I may have missed them so I went back to check, still could not find the links to the audio. I am very glad you brought this to my attention. I honestly thought this was a mix the OP had recorded.
yeah I think it was more about mixing an existing project which is already widely available.

Quote:
I have been in the audio industry for over 40 years. Set my two children and three grandchildren through collage from the profits I made. They did not go to Harvard, but both my children make 6 digit figures a year. Their kids will get there after they pay their dues.

Just ask any drummer worth their salt how easy this is to do. A person who knows their job can tap the keyboard, turn on the cams and explain what they are doing, just as easy as they breath. It is not rehearsed, It is what I refer to, as well as the rest of society, as being "Second Nature". You have done it so often it just comes natural.
I have no reason to doubt you Dana_T. I would expect the mixing skills the OP is seeking to acquire are probably as untransferable as a second nature as second nature is itself. without properly understanding why something fails for a given case, it's hard to demonstrate how this knowledge is required to narrow down what might succeed. failure is probably akin to a kind of diagnostic expertise. in that sense, a failure is never just a failure. it's also it's own kind of knowledge.

Quote:
By his lack of doing so, it seems he already has. Now, since this post is going nowhere, I will unsubscribe to it, as soon as I hit submit reply. To any and all evolved in this FUBAR, happy recording and do it as you see fit!
imv, the OP should just keep finding material to mix, and keep hacking away at mixing it. aside from contacts one might make, in general it's probably going to be more beneficial than making the coffee for a year. though ultimately it's up to the OP I suppose.

just keep going at it OP. keep your good mixes. flatten the mix and just start again or go on to a different track.
and then return later and have another stab. when you get a real issue, try and identify the best tool for the job.
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Old 9th April 2018
  #51
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Originally Posted by Dana_T. View Post
I may have missed them so I went back to check, still could not find the links to the audio. I am very glad you brought this to my attention. I honestly thought this was a mix the OP had recorded.
The song is called "On The Line" by James May. The link to the files is there, there are also files for the mixed song and a whole discussion group from other people who have mixed it.

Here's the page with the download links:

Mixing Secrets For The Small Studio (Cambridge Music Technology)

Here's the link to download the actual split files:

http://www.mtkdata.cambridgemusictec...esMay_Full.zip
Old 9th April 2018
  #52
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Quetz's Avatar
Quote:
Originally Posted by Muser View Post
imv, the OP should just keep finding material to mix, and keep hacking away at mixing it. aside from contacts one might make, in general it's probably going to be more beneficial than making the coffee for a year. though ultimately it's up to the OP I suppose.

just keep going at it OP. keep your good mixes. flatten the mix and just start again or go on to a different track.
and then return later and have another stab. when you get a real issue, try and identify the best tool for the job.
I'm already stockpiling multi-tracks
So I'll post this again here, updated to fix levels levels anyway: This is the stage I'm at. To get it any better I'd be guessing:
Attached Files
Old 10th April 2018
  #53
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Quote:
Originally Posted by Quetz View Post
I'm already stockpiling multi-tracks
So I'll post this again here, updated it to fix drum levels anyway: This is the stage I'm at. To get it any better I'd be guessing.

Soundcloud Link
one thing I tend to do is use a plugin called Heel Audio - MixRef.
It uses speaker impulse responses to simulate different speakers.
I actually tend to use the speaker plugin and use headphones at that point.

I use the provided Dynaudio as a reference point to investigate the low end and general balance.
then when that is fixed up, I switch between the Aurotone and NS10.
then I'll use the one for headphones and check it against the Adam AX7.
eventually switching between them begins to sound very similar.

you can actually put in third party impulses, but MixRef is mac only.
then I will tend to switch them out and carry on if needs be.
this isn't a perfect solution, but I find it produces meaningful results.
it also allows you to distance yourself from the mix for a time.

signals you want to not poke out too much are probably best treaded with a
minimal use of dynamic EQ or dynamic compression. in order to transparently constrain those behaviours.
Old 10th April 2018
  #54
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@Muser - I do need more mix reference speakers, and some mix references would be nice as well, but that would be starting the thread again so..

My monitoring is budget, but good budget stuff.
Presonus Eris 8s and AKG 702s.
I can check on earbuds and in the car (although I never do), but some mixcubes would be nice. MixRef sounds very useful, I hope there's a pc alternative.

I posted that mix after tweaking on speakers, then listened to it on headphones - drums too loud. Corrected in the phones then listened on speakers - hm. It's kind of somewhere in the middle between good and too quiet, so I need something reliable in-between.

Your comment about having something distance yourself from the mix stood out.
Having been away from that mix I posted for the day, I would go back and change things straight away. I'd given myself a public deadline though and wanted to stick to it!

General question, if I may:
I'm in the process of buying everything I need for acoustic treatment, which is the main priority right now.
For a small room though, it could be worse. I have to ignore the resonant peaks where I know there are issues, which is annoying, as is hearing them.

What are people's thoughts on using room correction software?
I've got a measurement mic with calibration file and I've seen different manifestations of 'room flattening' algorithms from IK and Sonarworks etc.
If I'm not planning on setting up in this room permanently, would I be better off with something like that than room treatment?
Does it actually do what it says on the tin?

Thanks
Old 11th April 2018
  #55
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Ok, so that's embarrassing, and will teach me to rush something out - huge error with guitars, too embarrassed to say what
Will update that mix later today.
Old 11th April 2018
  #56
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Alrightk anyone still with the patience to listen to this, please judge me on this one and not the previous one (not that it's prob going to make much difference)

Again, thanks.
Attached Files
Old 11th April 2018
  #57
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Originally Posted by Quetz View Post
Alrightk anyone still with the patience to listen to this, please judge me on this one and not the previous one (not that it's prob going to make much difference)

Again, thanks.
OUTSTANDING! The bass is a tad intrusive, but I like the bass as a instrument. The next time you mix a bass or kick track, once you get it to where it sounds good to you in your room, lower it by 2 to 3dbs. More then likely it is your room that is giving you these result. Again, well done.
Old 11th April 2018
  #58
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Quetz's Avatar
Thank you for your very generous reaction!

That bass is pretty heavy isn't it.. I do like it though, I'm an unapologetic basshead.
But yeah, I agree and I doubt it needs to be that up front..

The encouragement is highly valued

The drums were a struggle and there was only stereo o/heads, kick and snare that I worked with

Just couldn't get the balance of level and reverb how it sounded in my head.
I mentioned Beth Orton's Central Reservation earlier, my ideal drum sound for this would have been like on 'Stolen Car', or even like the drum cameo right at the end of 'Know How' by Kings of Convenience. But, well.
That Stolen Car mix is so 'effortlessly' magical, I mean wow.

It's because of that mix as well that every time I hear a cello, I want to overdrive it somehow!
Love that sound they get.

I could not make these guitars sound good. I could spend a lot more time on this but I need to move on to another one, I'm treating this as the starting benchmark, because I've been away from music and gear for 5 years (not through choice) and this is a fresh start.
Console 1 is helping make learning a lot less painful than it has been before, too.
That thing has been hands down the best piece of gear I've ever bought.
Old 11th April 2018
  #59
Deleted User
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Quote:
Originally Posted by Quetz View Post
Alrightk anyone still with the patience to listen to this, please judge me on this one and not the previous one (not that it's prob going to make much difference)

Again, thanks.
Here is my reinvention of your track reducing the lower bands by 2dbs. 40hz to 60hz. Please keep in mind, my reinvention is by no means better then yours. It is simply as I perceive it. I did this using $12.00 earbuds. So if you can, listen to it using earbuds.
Old 11th April 2018
  #60
Lives for gear
 
Owen L T's Avatar
Quote:
Originally Posted by Quetz View Post
Alrightk anyone still with the patience to listen to this, please judge me on this one and not the previous one (not that it's prob going to make much difference)

Again, thanks.
The most immediately obvious thing about this mix, at least to my ears, was how thinned out the acoustic guitar is - making it completely detached from the cello and the mix in general. If I had to guess, I'd say you've employed a hi-pass filter, or some serious low-end scooping, in conjunction with a fairly substantial high-end boost around 5k. Comparing the sound of the guitar with the post Mix Rescue mix by Mike Senior confirmed this initial impression; the sound of the guitar in that mix was much more natural and fuller. The EQ approach you've taken would be completely appropriate for, say, a dense dance track, where you really just want the sparkle of the the acoustic; but in this context, it does need to sound more like ... all of an acoustic guitar, not just the top!
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