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Things You think everybody should know? Let's share. Studio Headphones
Old 1st March 2014
  #31
Gear Head
 

There are a lot of "BS'ers" in this industry and most people are gonna flake on you.
Old 2nd March 2014
  #32
Gear Nut
 
texas heat's Avatar
 

Don't let rappers know where you live.

Most rappers are broke.

Working with rappers is frustrating try a different genre.

Most pro engineers will lie and tell you plug ins and hardware sound the same and advise you to choose software because it's cheaper. But you go to their studio and all you see is hardware. They lie because if they tell you the truth about hardware you wouldn't need them anymore. They want you to think they have magic ears, when most of the time it's the gear they use. While you wonder why your missing that warmth and punch of commercial releases.
Old 2nd March 2014
  #33
Quote:
Originally Posted by texas heat View Post
Most pro engineers will lie and tell you plug ins and hardware sound the same and advise you to choose software because it's cheaper.
Say whaa…?

I've never, ever heard a pro engineer say any of that!!
Old 2nd March 2014
  #34
Quote:
Originally Posted by bgrotto View Post
Say whaa…?

I've never, ever heard a pro engineer say any of that!!
Ditto..at least, not the secure ones!
Old 2nd March 2014
  #35
Gear Addict
 
NickNagurka's Avatar
 

0vu = -18dBFS = the nominal operating level of those analog-modeled plugins you pirated

Yes, clipping the channel in Pro Tools DOES sound bad. Ain't no summing mixer or stereo-widener gonna fix your bad gain staging.
Old 2nd March 2014
  #36
Quote:
Originally Posted by NickNagurka View Post
0vu = -18dBFS = the nominal operating level of those analog-modeled plugins you pirated

Yes, clipping the channel in Pro Tools DOES sound bad. Ain't no summing mixer or stereo-widener gonna fix your bad gain staging.
But it's nigh on impossible to actually "clip the channel" in a floating point system.

Clipping plugins - different story.

I guess I could add that "0vu = -18dBFs" doesn't mean that you shouldn't peak above -18 - it means that should be about where most steady signals lay. Peaks can go way higher, just as peaks on an and logic system would.

Almost as frustrating as those who run everything close to clipping are those who meticulously keep their levels low, leaving buckets of headroom and peaks 20dB below full scale. Both are examples of bad gain staging!
Old 2nd March 2014
  #37
Lives for gear
forget about all the bull****-talk on analog or digital, or mojo or color. does interest a dead man. make music.
Old 2nd March 2014
  #38
Lives for gear
 

Everybody should know to park in the designated parking spots at the studio or you will be towed!
Old 2nd March 2014
  #39
Lives for gear
 
3rd Degree's Avatar
 

Quote:
Originally Posted by Claborn View Post
Everybody should know to park in the designated parking spots at the studio or you will be towed!
Actually, this is not bad advice. I have seen this before with studio's that don't really have any parking in industrial areas. Oh, I will just park in the next lot. Maybe seen 2 or 3 people finish up a session while I am on my way in, after taking a while for parking and their car is gone.
Old 2nd March 2014
  #40
Lives for gear
 

Quote:
Originally Posted by texas heat View Post
They lie because if they tell you the truth about hardware you wouldn't need them anymore. They want you to think they have magic ears, when most of the time it's the gear they use. While you wonder why your missing that warmth and punch of commercial releases.
This is ridiculous. The magic ears come from decades of experience and an acoustically treated room; which most home recordists don't have.
Old 2nd March 2014
  #41
Lives for gear
 
FyLe ForMatz's Avatar
 

Quote:
Originally Posted by Sheldon Mack View Post
There are a lot of "BS'ers" in this industry and most people are gonna flake on you.
are they gonna flake even when money is on the table?
Old 2nd March 2014
  #42
Lives for gear
 
3rd Degree's Avatar
 

Instead of getting into what's going on, I will just state another thing I think everyone should know.

-The main thing that separates a real studio from a home studio is that it is often built around acoustics. If not, it's often designed around it. The second major thing is that it usually has a talented engineer. Quite honestly, it may have better gear than what a lot of us have but some of us seem to have the same, or sometimes better gear. However, the reason it's the 3rd point is the first 2 have to be addressed before you get to the third, if you want good results. There is no reason why a home studio can't be (or more so sound) like a real studio. Get the acoustics right and you are getting somewhere. If you get to the point you can engineer like the best, you are almost there. Just fill in the blanks with equipment and you are good. That doesn't mean it's easy, make an exceptionally great sounding room, become a world class engineer, and get some good equipment. Money can only buy the last, the other two need some serious knowledge.
Old 2nd March 2014
  #43
Gear Addict
1) sitting down an hour and making presets in your DAW for some recording or mixing situations will save much time (not only project presets but track presets which are easily put together to a new project)
2) buying a good soldering iron and learning to solder is not a bad thing
3) not music related: don't watch TV.

4) peace

Quote:
Originally Posted by Stallone View Post

Save yourself the headaches and buy a Mac. :D


two words:
goto fail;
Old 2nd March 2014
  #44
Gear Addict
 
NickNagurka's Avatar
 

I was about to say "well that goes without saying" but then I realized the point of this thread...

One could postulate that if you're clipping the fader in pro tools, you're likely clipping a plugin or two somewhere in the chain, unless you're applying gain on the fader itself.

Floating point arithmetic is indeed damn near impossible to clip, but there's no reason to be working at such levels, especially with 24-bit audio.

I only harp on this because I mix primarily in the box, and you really start to hit the wall if you run out of headroom.

Additionally, there seems to be some sort of misconception that there's more headroom when you're on a console. Plenty of headroom on both, but DAW meters fool us into working at hotter levels and pushing our processing chains harder than most may intend.


Quote:
Originally Posted by psycho_monkey View Post
But it's nigh on impossible to actually "clip the channel" in a floating point system.

Clipping plugins - different story.

I guess I could add that "0vu = -18dBFs" doesn't mean that you shouldn't peak above -18 - it means that should be about where most steady signals lay. Peaks can go way higher, just as peaks on an and logic system would.

Almost as frustrating as those who run everything close to clipping are those who meticulously keep their levels low, leaving buckets of headroom and peaks 20dB below full scale. Both are examples of bad gain staging!
Old 2nd March 2014
  #45
Lives for gear
 
jbrown1music's Avatar
you don't need expensive monitors to get decent mixs. learning your speakers and room goes a long way. also mixing on a good set of cans isn't quite as bad as one would think if you have the right cans
Old 2nd March 2014
  #46
Lives for gear
 
Will The Weirdo's Avatar
Get the PO number the night of the session, fill out the session report in full & find out which accountant is handling the project..... and you might get paid within the next year.
Old 2nd March 2014
  #47
Good points.

I might tend toward the pedantic sometimes, but I often find that leads to less confusion in the long run!

Quote:
Originally Posted by NickNagurka View Post
I was about to say "well that goes without saying" but then I realized the point of this thread...

One could postulate that if you're clipping the fader in pro tools, you're likely clipping a plugin or two somewhere in the chain, unless you're applying gain on the fader itself.

Floating point arithmetic is indeed damn near impossible to clip, but there's no reason to be working at such levels, especially with 24-bit audio.

I only harp on this because I mix primarily in the box, and you really start to hit the wall if you run out of headroom.

Additionally, there seems to be some sort of misconception that there's more headroom when you're on a console. Plenty of headroom on both, but DAW meters fool us into working at hotter levels and pushing our processing chains harder than most may intend.
Old 2nd March 2014
  #48
Lives for gear
 

Quote:
Originally Posted by texas heat View Post
Most pro engineers will lie and tell you plug ins and hardware sound the same and advise you to choose software because it's cheaper. But you go to their studio and all you see is hardware. They lie because if they tell you the truth about hardware you wouldn't need them anymore. They want you to think they have magic ears, when most of the time it's the gear they use. While you wonder why your missing that warmth and punch of commercial releases.
Well that's a load of crap.

Assuming it was tracked adequately, if a mix sucks, it's because the engineer sucks.
Old 2nd March 2014
  #49
Gear Nut
 

Quote:
Originally Posted by Will The Weirdo View Post
Get the PO number the night of the session, fill out the session report in full & find out which accountant is handling the project..... and you might get paid within the next year.
Took me 5 months to get a check for 2800. Smh
Old 2nd March 2014
  #50
Here for the gear
 

Don't "Cup" the mic.
Old 2nd March 2014
  #51
Quote:
Originally Posted by epotts06 View Post
Took me 5 months to get a check for 2800. Smh
That's pretty damn fast!
Old 2nd March 2014
  #52
Gear Nut
 

Quote:
Originally Posted by bgrotto View Post
That's pretty damn fast!
Yea I'm just figuring that out. Lost tons of work wit that label bc I didn't know the game.
Old 2nd March 2014
  #53
Lives for gear
 
Will The Weirdo's Avatar
Knowing who the accountant handling the project is the key to getting your check, every dollar spent goes through them. Find out who that person is, take them to lunch and get to know them well..... seriously!
Old 2nd March 2014
  #54
Lives for gear
 
3rd Degree's Avatar
 

Quote:
Originally Posted by NickNagurka View Post
One could postulate that if you're clipping the fader in pro tools, you're likely clipping a plugin or two somewhere in the chain, unless you're applying gain on the fader itself.
That's actually a great point. Honestly, I didn't realize this for many years. The fader wasn't clipping but I was clipping my plug ins all the time. I didn't ever think about this until PT EQ 3 came out and had the meter on it.
Old 2nd March 2014
  #55
Lives for gear
 

Quote:
Originally Posted by peterpiper0815 View Post
3) not music related: don't watch TV.
on that note turn the internet off when it's time to make music, big distraction.

also the more you party the less creative you'll be in my experience.
Old 3rd March 2014
  #56
Lives for gear
 
Realziment's Avatar
 

Quote:
Originally Posted by peterpiper0815 View Post
1)
3) not music related: don't watch TV.

This reminds me, I was assisting a top name mix engineer who we all know. For quite some time. Well hes a huge baseball fan and he would always have the baseball on while mixing when the important games where on. And he once stated that it is partially the reason why he gets great vocal sound on his mixes due to the clarity of the commentators of the game.
Old 3rd March 2014
  #57
Gear Addict
 

Quote:
Originally Posted by Realziment View Post
This reminds me, I was assisting a top name mix engineer who we all know. For quite some time. Well hes a huge baseball fan and he would always have the baseball on while mixing when the important games where on. And he once stated that it is partially the reason why he gets great vocal sound on his mixes due to the clarity of the commentators of the game.
hmmm how do they correlate ? great vocal mixes occur due to commentators on a baseball game having clarity.....(runs off to subscribe to baseball channel)
Old 3rd March 2014
  #58
Lives for gear
 
Realziment's Avatar
 

Quote:
Originally Posted by AKA-I-Addict View Post
hmmm how do they correlate ? great vocal mixes occur due to commentators on a baseball game having clarity.....(runs off to subscribe to baseball channel)
Well if you listen to those broadcasters, most of the time they have such a clear up front in your face sound. And often a very full sound.
Old 5th March 2014
  #59
Gear Addict
1st of all every mixing engineer should have a mixing engineer buddy to critique his mixes... shout out to mister karloff this dude just helped me step up my mix so much its not even funny... i think having another set of ears in another studio (not just for mastering, for mix critiquing) makes a huge difference...

2nd of all if the sounds are already good in a beat, dont mess witt em... most the time u end up doing more harm than if u would have left them alone.. each sound gotta play its part in conjunction with the other sounds... so sometimes by messing with the sound you think your making it sound better, and it might, but it will end up clashing with other sounds and sound worse overall in the mix... something i went thru tonight on a mix

3rd read gearslutz i swear i learned more on gearslutz than i ever learned anywhere else... and from members too...
Old 5th March 2014
  #60
Lives for gear
 

More on light's #2 point
When picking sounds try to consider thier frequency relation to each other. Watch for overlaps, buildups and clashes.
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