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Clarity
Aug 23, 2018 14:56:26 GMT -6
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svart likes this
Post by c0rtland on Aug 23, 2018 14:56:26 GMT -6
Thanks for the replies. Motivated! I'm definitely going to try your excersize. I think separating project editing and organization from mixing is valuable as well. Much Appreciated!
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Clarity
Aug 23, 2018 12:32:06 GMT -6
via mobile
Post by c0rtland on Aug 23, 2018 12:32:06 GMT -6
So just an update here. I'm truly wrestling with mixing and learning a lot right now. My last two breakthroughs came recently and I'd like to share. 1. My frequency balance is off. I think I'm trying to shoot for overhyped modern subconsciously instead of balanced. Control the low end and pick and choose what gets to dominate the high frequencies at any given time. 2. I'm overmixing. I think that I'm doing way too much processing to each track because I can and it sounds good initially but then everything is hyped and forward and nothing sounds right. I'm trying to get into the headspace where I'm correcting problems if there are any and letting the tracks just be what they are. Then maybe do parallel processing for extra impact where needed emotionally in the track. I think this is probably a common mistake for amateurs. We get so psyched on gear and techniques trying to learn as much as we can that it becomes this thing where it's like how many tools can I use in this mix to pimp it out. When really I should only be using processing when it's needed. Not as a matter of course. It sounds like such common sense and I would have even told someone else that's how to do it. But I think it's sinking in for me. Just because you can doesn't mean you should. I'm learning that restraint can be more important than knowing clever ways to make things sound hyped. I took a track I had been working on and scratched everything. Every eq comp everything. And I just listened to it. I could here were a few tweaks here or there would help smooth and focus things but compared to the overmixed version I had been listening to it was like a warm blanket. It was pleasurable sonically vs everything loud and sparkly and canned and mangled. It was a big eye opener. I had that "A-Ha" moment myself a couple years ago, sort of blew my mind actually. Really good thing to realize. There was somebody with a clever phrase for it like, "Knowing how to use every knob in the studio, but not touching any of them." yeah man. I heard that years ago it just didn't sink in. Now it's painfully obvious. I believe fletcher is the person I saw who said that.
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Clarity
Aug 23, 2018 10:12:11 GMT -6
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Post by c0rtland on Aug 23, 2018 10:12:11 GMT -6
Taste not Tricks.
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Clarity
Aug 23, 2018 10:04:36 GMT -6
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Guitar likes this
Post by c0rtland on Aug 23, 2018 10:04:36 GMT -6
So just an update here. I'm truly wrestling with mixing and learning a lot right now. My last two breakthroughs came recently and I'd like to share.
1. My frequency balance is off. I think I'm trying to shoot for overhyped modern subconsciously instead of balanced. Control the low end and pick and choose what gets to dominate the high frequencies at any given time.
2. I'm overmixing. I think that I'm doing way too much processing to each track because I can and it sounds good initially but then everything is hyped and forward and nothing sounds right. I'm trying to get into the headspace where I'm correcting problems if there are any and letting the tracks just be what they are. Then maybe do parallel processing for extra impact where needed emotionally in the track. I think this is probably a common mistake for amateurs. We get so psyched on gear and techniques trying to learn as much as we can that it becomes this thing where it's like how many tools can I use in this mix to pimp it out. When really I should only be using processing when it's needed. Not as a matter of course.
It sounds like such common sense and I would have even told someone else that's how to do it. But I think it's sinking in for me. Just because you can doesn't mean you should. I'm learning that restraint can be more important than knowing clever ways to make things sound hyped.
I took a track I had been working on and scratched everything. Every eq comp everything. And I just listened to it. I could here were a few tweaks here or there would help smooth and focus things but compared to the overmixed version I had been listening to it was like a warm blanket. It was pleasurable sonically vs everything loud and sparkly and canned and mangled. It was a big eye opener.
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Post by c0rtland on Aug 18, 2018 17:57:37 GMT -6
The guy who I bought a KM54 and a pair of KM85's from over here in Oz had probably least $1 Million worth of vintage Neumann mics alone just based on what he told me over the phone. I purchased his last KM54 (he had eight originally). Funnily enough he told me he didn't even own a Neumann U47. He said he preferred U48's due to their Figure 8 pattern. He had fourteen U48's at one stage! And those were just the tip of the iceberg. Wiz knows who I'm talking about. Yes I do 8), I got one of his U87s... Cheers Wiz Where can I find this guy?
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Post by c0rtland on Aug 18, 2018 12:57:05 GMT -6
Oscilloscope 633a Km56 Tape Mrl Line 6 echo farm rack unit because dr. Bill. Oeksound spiff Kk67 (may return)
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Post by c0rtland on Aug 18, 2018 12:21:24 GMT -6
Billy on joe rogan. Really interesting perspective on the music industry.
Also, I saw them last night. And holy shit. 5/5. Perfect tones and every note and bend was there. Flawless performance. 30 songs. Close to 3 hrs. I wasn't bored for a second. One of the top 3 shows of my life. Another show I'd put in my top 3 would be dungen in Chicago. Another would probably be ryan adams at forecastle... idk it's hard, so many great shows, but the pumpkins choice for top 3 is an easy choice.
If they come close, go.
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Post by c0rtland on Aug 14, 2018 12:31:28 GMT -6
Anyone have a PDF of the atr 102 manual? I cannot find one online. Www.analogrules.com has a link but the PDF is empty. I'm aligning my machine and ran into an oddity. When checking the rec head azimuth on an oscilloscope one of the sine waves drifts left constantly. It just keeps moving left. The pb head didn't do this. It's really bizarre to me.
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Post by c0rtland on Aug 11, 2018 18:36:58 GMT -6
That's a perfect analogy. A food blog. Lol
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Post by c0rtland on Aug 10, 2018 13:30:20 GMT -6
It looks like you can get Ozone 8 Standard fairly cheaply right now with their "back to school" sale. At Audiodeluxe, it's like $168 or something. Or it *appears* to me you can get Ozone Elements AND the upgrade from Elements to Standard for a total of $108.64. If it's as good as you guys are saying it is, that's a steal. its worth it for the dynamic eq alone.
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Clarity
Aug 10, 2018 13:09:06 GMT -6
via mobile
Post by c0rtland on Aug 10, 2018 13:09:06 GMT -6
Maybe I posted this earlier in this thread, but I have found Ozone 8 to be invaluable in this regard. It has the one touch reference thingy where you can a/b any reference tracks...and I’ve found the tonal balance thing to be super helpful. Ozone 8 is definitely invaluable to me and the tools and features in that program are worth far more than any compressor or eq you'd spend thousands on out there. Just load your favorite mixes as a batch into the reference section, then allow Ozone to learn the dynamics, loudness and tone of your track against the combined curve of the references and it'll blow you away. The program is scary intelligent, it's not just analyzing the eq/saturation/compression/width of the references, but the "sound" of them and then uses all those aforementioned tools to match your track. Izotope has really changed the way I work and also allowed me to damn near be completely ITB. The more the better? That seems odd to me. I'm thinking of it sorta like a box of crayons are all different but super pretty. Combine them all and you end up with sludge brown.
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Post by c0rtland on Aug 9, 2018 23:13:04 GMT -6
Started from scratch. That seemed like the ticket, less chasing my tail. Mixed in mono low on the 10's. Added instrument buss compression. Combined the vox and ag compression since there was some bleed. Thought I'd treat them together (54f50) since they were performed together. Seemed to work this time. Vocal got an 1176 before the group compressor for peak limiting. I was using a 160 for that before but the 1176f just worked immediately. 12:1. Worked on the drums more. Removed the vox ag room mics. Did more automation for movement. Thanks for the motivation guys. Much appreciated group therapy. www.dropbox.com/s/imrf44lhkjx9vvp/daytime%20misery%20fresh%208%3A9.wav?dl=0
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Clarity
Aug 7, 2018 21:30:45 GMT -6
Post by c0rtland on Aug 7, 2018 21:30:45 GMT -6
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Clarity
Aug 7, 2018 18:34:43 GMT -6
via mobile
Post by c0rtland on Aug 7, 2018 18:34:43 GMT -6
That's part of the problem with reference tracks. What song to pick.
I have been recording and mixing all the tracks I have worked with.
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Post by c0rtland on Aug 7, 2018 16:17:39 GMT -6
Yes. The low end is difficult to sort out. Typical. I go back and forth between how much low mids to cut and what to leave.
Really appreciate your time looking at this. I didn't quite expect that!
It does help.
Apparently I'm on the right path just ignored too many issues.
Helps to have the feedback. Thank you.
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Clarity
Aug 7, 2018 15:09:30 GMT -6
via mobile
Post by c0rtland on Aug 7, 2018 15:09:30 GMT -6
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Post by c0rtland on Aug 7, 2018 14:41:41 GMT -6
Thanks for the replies. Some days it's super easy. Then sometimes you hear a mix that is just so off from where you thought it was it gets discouraging. Today was one of those days. I finished a mix then played it in my friends Honda and it was embarrassingly muddy and dark. Ugh. I'm never giving up...
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Clarity
Aug 7, 2018 13:59:20 GMT -6
via mobile
Post by c0rtland on Aug 7, 2018 13:59:20 GMT -6
Hey guys.
I would love to get a mixing mentor and am looking into that.
However, I have been practicing mixing intensely for 3 yrs now and still have a long way to go.
When I listen in my room with amphion. One18's and ns10's the mixes seem good. Like ,I'm happy 80% with them.
When I listen almost everywhere else I hear glaring issues.
Low mids build up. Lack of clarity in terms of 4K and up. Definition and punch I the low end. Also a lack of cohesion.
Pretty hard on myself but I would say that 3/10 mixes really hit like I want them too.
I don't use references mixes as part of my process partially because it is just so discouraging.
I feel like it shouldn't be this difficult. I can't tell if I'm not eq'ing enough or what the deal is.
How the f do you master this??? I have the sense it's not about my gear/room/monitoring as much as the desicions I'm making.
Thanks guys. I'm not gonna give up, but I'm kind of running into the same issues over and over again.
How did you guys get to a place where you are happy with your mixes?
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Post by c0rtland on May 16, 2018 15:23:05 GMT -6
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Post by c0rtland on May 15, 2018 15:52:28 GMT -6
Session drummer. 😁
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Post by c0rtland on May 8, 2018 9:23:38 GMT -6
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Post by c0rtland on May 6, 2018 20:20:41 GMT -6
just to reiterate, i am not proposing the use of these for mixing. thanks for all the comments.
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Nuraphone
May 4, 2018 20:43:49 GMT -6
via mobile
Post by c0rtland on May 4, 2018 20:43:49 GMT -6
Has anyone used these? They look intriguing. I'm considering giving them a try for my listening pleasure, not mixing or reference. They have a 30 day return policy. What's there to lose? I'm curious what people on rgo think about them and if anyone has heard em. The marketing is cheesy and overdone almost in a slate kind of way. Almost entirely hyperbole, this is the main reason giving me pause. Best ever life changing never going back ruined listening forever on anything else everyone has to hear these once in their life blah blah blah Yeah. Right. Second coming of Jesus Christ. We get it, and it's annoying. www.nuraphone.com/
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Post by c0rtland on May 4, 2018 11:44:45 GMT -6
Got it from sphere. Coming from la. Apparently it belongs to the queens of the Stone Age. Hopefully it's as clean as he says. Got a pretty darn good deal on it. Had to jump.
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Post by c0rtland on May 4, 2018 10:00:18 GMT -6
Atr 102 ½"
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