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Post by ragan on May 20, 2019 22:40:28 GMT -6
Yeah that's odd. You know you've got Sonarworks seeing the mic signal, right? It's registering on the SW meters? Try turning up the monitor levels a little?
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kcatthedog
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Post by kcatthedog on May 21, 2019 1:00:01 GMT -6
Yup all gain and speaker volumes is good and I have tried turning up volume above conversational levels so I’ll try louder !
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Post by indiehouse on May 21, 2019 4:29:26 GMT -6
Yup all gain and speaker volumes is good and I have tried turning up volume above conversational levels so I’ll try louder ! You can manually enter speaker distance. SW didn’t calculate the distance correctly, so I measured myself and entered the distance.
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Post by kcatthedog on May 21, 2019 5:58:40 GMT -6
where in ref 4 ?
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Post by mcirish on May 21, 2019 8:06:59 GMT -6
I think it only gives you the option to change the distance once it completes the automated portion of determining distance.
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Post by kcatthedog on May 21, 2019 8:43:02 GMT -6
Of course , the problem was me:) I had the wrong cable input from pre out, don't understand why the gain was working though. Any way all done and measurements completed and, while in the past I had stopped using my monitors due to room gremlins, the new ref4 SW system definitely sounds really good. Over the monitors the mid range still sounds a little congested(tubby) compared to the headphones. I have been using the Fab filter Q3 M/S on various places to clear up the mids selectively by group. I have always thought about moving the wall to my right out about 2 feet and angling it slightly to help fight rom modes etc
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Post by ragan on May 21, 2019 23:21:37 GMT -6
School's in session so I haven't been able to do any extended mixing or anything but I can do little bits of things here and there when I've got the kids playing with me in the studio. I think I can definitively say that I'm not gonna wanna go without Sonarworks when this trial ends. Things just sound clearer. It's easier to hear what's wrong and what you need to do to get your mix where you want it to go. Really, really cool and supremely useful tool by my estimation.
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Post by kcatthedog on May 22, 2019 0:30:01 GMT -6
I think they have tweaked the algorithm a lot as I never took to SW before and always ended up not using it, but ref4 seems excellent but with the calibrated mike.
The sw mike is definitely the behringer but without the calibrated file, you lose a lot so the investment in the calibrated mike makes, not breaks it’s effectivesneas.
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Post by mcirish on May 25, 2019 12:05:33 GMT -6
I know I'm beating this horse a bit too much but I have to say that this software may have been the best software purchase I have made since Nuendo 2, way back in the stone-ages. Now that I've moved my monitors to a better position, the correction isn't so extreme but it clears up all the "I wonder what's happening there" moments. What I hear is what is there. It's great to be able to finally trust my ears. I do know the problems are all room related but for many of us, the room is what it is. We can't change the room dimensions. I've done a lot of treatment and the room is quite accurate under 500hz. Sonarworks cured a couple dips and a peak. This was well worth the money.
Only one request. i wish there were a way that the safe headroom would be recalled with the profiles. If I work on a set of monitors that had a safe headroom of -11dB and then I open a profile with a safe headroom of -7dB, I have to manually move the fader. I have a feeling this is intentional so all monitor are the same level. i still wish it were an option.
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Post by ragan on May 25, 2019 12:34:14 GMT -6
I am really liking it as well. I feel like a surgeon. I was messing with SD3 kick drums the other night, swapping them, sending different amounts to different mics, etc and I was really amazed. I've never heard so much nuance in the lows.
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Post by Johnkenn on May 25, 2019 13:11:32 GMT -6
I am really liking it as well. I feel like a surgeon. I was messing with SD3 kick drums the other night, swapping them, sending different amounts to different mics, etc and I was really amazed. I've never heard so much nuance in the lows. Yeah a heard some phasing I’d never heard in some of my kick samples.
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Sonarworks
May 25, 2019 13:19:47 GMT -6
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Post by Johnkenn on May 25, 2019 13:19:47 GMT -6
I’m still using Izotope Tonal Balance to match some of my favorite mixes. Just by listening in my room with Sonarworks on, TB usually tells me to add lower mids - which doesn’t always sound intuitive to me, but seems to translate really, really well. Also noticed that I’m tending to pull out around 4khz and boosting a bit at 7khz with this one TB profile...and that seems to really translate well. I was looking for some different songs for references and man, Tchad Blake kept showing up in mixes that I really liked.
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Sonarworks
May 25, 2019 13:21:58 GMT -6
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Post by ragan on May 25, 2019 13:21:58 GMT -6
Johnkenn You’re preachin’ to the choir! I should look into TB (meaning Tonal Balance, not Tchad Blake). Is it curve matching? Have you tried that with FF Pro-Q? I really find that useful.
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Post by Johnkenn on May 25, 2019 13:43:04 GMT -6
Johnkenn You’re preachin’ to the choir! I should look into TB (meaning Tonal Balance, not Tchad Blake). Is it curve matching? Have you tried that with FF Pro-Q? I really find that useful. www.izotope.com/en/blog/mixing/what-is-tonal-balance-in-mixing-and-mastering.htmlTonal balance refers to the distribution of energy across the audio spectrum. Whether you’re an artist or audio engineer, understanding and managing tonal balance helps you achieve a desired effect—anything from a solo piano, jazz trio, dubstep track, or 12-piece mariachi band. You can visualize it as a signal’s frequency curve over time. However, the term “balance” is one that is frequently bandied about in discussions regarding the quality of audio recordings and mixes. It’s not hard to conjure up memories of statements like “That mix is on point—super balanced,” or “You gotta use this old mic on piano. It’s smooth and balanced.” It seems that everybody assumes that everybody else knows what they mean by “balanced,” even though they give no further explanation. What's frustrating is that its definition is not only vague, but also variable. It’s subjective and contextual. The interpretation of tonal balance may differ between avid listeners, artists, and recording, mixing, and mastering engineers, their relationship to the music, as well as what they like. What follows are perspectives from a variety of players in the music industry, intended to help you better understand the meaning of tonal balance.
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kcatthedog
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May 25, 2019 13:58:52 GMT -6
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Post by kcatthedog on May 25, 2019 13:58:52 GMT -6
So, you are comparing your mixes to apparently averaged mixes based on its AI? Why not just mix the way you want ?
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Post by mcirish on May 25, 2019 16:53:33 GMT -6
I picked up Ozone 8 Advanced a couple weeks ago. Next time I get a few free minutes, I will give that module a run through and see what I can make of it. Anything that can help me get closer to the goal of being competitive with the high dollar mixing engineers is a good thing.
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Sonarworks
May 25, 2019 17:43:22 GMT -6
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Post by Johnkenn on May 25, 2019 17:43:22 GMT -6
So, you are comparing your mixes to apparently averaged mixes based on its AI? Why not just mix the way you want ? Because regardless of having a $250 software program, I still am more likely to trust the worlds best mixers and mastering engineers.
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May 25, 2019 17:47:37 GMT -6
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Post by kcatthedog on May 25, 2019 17:47:37 GMT -6
I understand that but they are not mixing your song you are! Rightly or wrongly, I always think of each song as a singular creative endeavour , so I want it to sound like how it wants to sound. I know, us wacky Canadians: must be frostbite related !
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Post by ragan on May 25, 2019 17:54:11 GMT -6
I get it, totally. When I'm mixing My Song, I have in mind some vibe and aesthetic and the reason I conceive of that vibe and aesthetic is that I've heard it before, or something like it. If I know how such and such Beatles or ELO track sounds when I crank it up in my truck, if I steal some of that vibe and footprint when mixing My Song, I can somewhat control/predict how it's gonna sound when I crank it up in my truck.
Or, even more common for me, I'm listening to something I really admire sonically and wondering, why doesn't mine sound like that? When I make it a source in FF Pro-Q and apply it to the master fader of my track, I get clues. "Holy crap, my track is way, way more low mid heavy than _______" or "wow, they're really pushing the 800Hz" or whatever. Very useful to me personally.
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Post by ragan on May 25, 2019 18:08:53 GMT -6
I get it, totally. When I'm mixing My Song, I have in mind some vibe and aesthetic and the reason I conceive of that vibe and aesthetic is that I've heard it before, or something like it. If I know how such and such Beatles or ELO track sounds when I crank it up in my truck, if I steal some of that vibe and footprint when mixing My Song, I can somewhat control/predict how it's gonna sound when I crank it up in my truck. Or, even more common for me, I'm listening to something I really admire sonically and wondering, why doesn't mine sound like that? When I make it a source in FF Pro-Q and apply it to the master fader of my track, I get clues. "Holy crap, my track is way, way more low mid heavy than _______" or "wow, they're really pushing the 800Hz" or whatever. Very useful to me personally. Hey ragan can you elaborate on using PRO Q3 as a source please? Cheers Wiz Yeah you bet. It's not that Pro-Q3 is a source, it's that you can take any track with an instance of Pro-Q3 on it and select that track as a source. You let it play for a few seconds and it captures a frequency behavior/response for that track and you save it as a source, sort of like a preset. Then, on any other track with an instance of Pro-Q3, you can select that saved 'source' and have Pro-Q3 apply a curve to match. You can make a whole mix a 'source' (if you import it into the DAW and stick a Pro-Q3 on that track) and apply it to your whole mix, or you can do it for individual tracks. I've used it to find interesting EQ curves before. Like making the MK67 have the same frequency response as the TG mic, or vice versa. It's amazingly effective and there are a ton of creative ways to use it. You can, say, make your kick drum a source and pull that source up on your bass track. You don't have to apply a corrective matching curve, you can just have the source showing you its spectrum, visually, so you can see where the two things (bass and kick in this example) are interacting. It's handy.
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Post by ragan on May 25, 2019 18:10:57 GMT -6
wiz Here's a tutorial using Pro-Q2, same process in Pro-Q3.
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May 25, 2019 18:15:39 GMT -6
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Post by Johnkenn on May 25, 2019 18:15:39 GMT -6
Yeah it reveals things that I’m not hearing per se.
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May 25, 2019 18:18:51 GMT -6
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Post by Johnkenn on May 25, 2019 18:18:51 GMT -6
Actually tried using the eq match in place of Sonarworks...but didn’t feel like it was quite the same.
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Post by Johnkenn on May 26, 2019 7:23:36 GMT -6
So I’ve been doing all this testing with my sub...because it’s how I listen...maybe I just need to move my sub further towards the wall to improve my bass dip.
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Post by kcatthedog on May 26, 2019 7:26:52 GMT -6
Try it and see ?
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