|
Post by tonycamphd on Dec 9, 2015 20:59:46 GMT -6
for some reason i can't get any of the files to load? It's not my connection or i couldn't have posted this...right?
thanx for doing this C+
|
|
|
Post by tonycamphd on Dec 9, 2015 12:04:17 GMT -6
I've got a chick I'm working with that just wants me to do my whore mastering instead of sending it to someone. (Money constraints) I can make things sound good, but my question is this - how do I make sure each one is pretty close in volume? (God forbid I use my ears) Do you just master to a certain RMS peak level on each song? i'd try to mix all the tracks so they show up on your master at -14db rms, then monitor around 79-83db spl(that is basically the Ksystem for pop), that should keep things relatively consistent, then import all the tracks into a new mastering session in succession and .1 them to 0, thats about all i know about mastering haha, i think it is a good idea to try to get your master bus rms up as high as possible, apply final tweaks with no overs prior to limiting, so that final limiting won't change your sound too much, but again, i ain't no masterer er r er guy.
|
|
|
Post by tonycamphd on Dec 9, 2015 11:51:43 GMT -6
get a second sub, flank it like i suggested earlier, problem solved, no need to thank me 8) Seems like a cheap enough solution. How would you suggest positioning them? My sub is centered on the floor (on some absorbing foam) between and aligned with my monitors. On the floor under each monitor? Up off the ground slightly? Directly under the monitors? just don't put them side by side, set them on the floor just under each monitor, it's not critical if they're in/outside a bit, the other thing id do, is put spikes on the bottom of the subs, and then put a heavy bag of sand on top of each sub, it should blow your mind when you hear that, setting it on foam will allow the large driver/bass waves to move the enclosure, thus causing distortion, the bag of sand gives you rock solid solidity that will surprise you, the same concept apply's to bass guitar cabs, and actually ANY speaker enclosure to some degree. Let us know if you do it, and what you think? www.parts-express.com/dayton-audio-dss3-bc-black-chrome-speaker-spike-set-4-pcs--240-670
|
|
|
Post by tonycamphd on Dec 9, 2015 10:48:18 GMT -6
Man, I just use a cheap KRK 10" Sub with my One 18's. They have a method of setting it up on their site involving SPL measuring, blah, blah...I've done that and it works...but I much of the time, I'll spend some time listening to stuff that I know sounds amazing and setting the sub up to sound fantastic with that...then when I mix, it translates beautifully. It also has a defeat pedal switch where you can use the sub or defeat it and hear only the monitors. Best of both worlds. John, I use the 10s too, and set it up the same way (with multiple reference songs). I have it on a footswitch and mix without it 90% of the time. In my room though the lows dont really fully "bloom" at the mix position. I constantly reference my low end at the back of my room where the sub freqs really clear up. My room is fully bass trapped in the corners, but im sure it is still problematic as it is fairly small with low ceilings. Im guessing that bigger sub freq waves just simply take more time to develop, and the sub is just too close to the mix position. Do you notice this in your room? With that said, I like the sub alot. Its not very defined and kinda "tubby" sounding, but I find if I get the lows clear and tight on it, it translates very well. Without it, Id be simply guessing get a second sub, flank it like i suggested earlier, problem solved, no need to thank me 8)
|
|
|
Post by tonycamphd on Dec 9, 2015 10:45:08 GMT -6
I walked out of the house this morning to come to work, and there was a package on my doorstep.. My demo VL37 has arrived as well! I'll be in the studio doing mixes tonight, but I'll find some time to start playing with it! First impressions is that it's super heavy, weight wise. I wasn't expecting it to be so weighty. It's built very nicely for sure. i'm quite curious to see how you think it measures up to your 121?
|
|
|
Post by tonycamphd on Dec 9, 2015 10:36:06 GMT -6
awe man, it was probably just tubes going bad? one of 12!(i think there's 12..right?), how long ago did you sell it? those things are so cool and so out of reach it'$ not even funny, jsteiger how'd your 660 fare after the post office debacle? i'm speechless....
|
|
|
Post by tonycamphd on Dec 9, 2015 10:27:45 GMT -6
IMO, and generally speaking, subs are best used switching in and out, they will wear you out with extended use, success with them is also completely dependant on the quality of your room, uneven freq response, with low ceilings usually lead to nulls and modes throughout the sub range, the best way to deal with that cheaply is to buy 2 subs and flank them L/R to smooth the response by fill firing from different positions, my room here has a very smooth freq response, nary a hot spot, but i will be switching a sub in and out more for personal listening fun, than for mixing.
Hope this is somehow useful.
|
|
|
Post by tonycamphd on Dec 9, 2015 10:18:57 GMT -6
For many years I had a Fred 87. It was an amazing mic. I sold it about 10 years ago. I never had the chance to put it side by side with a real 67. From memory I would put it somewhere between an 87 and a 67, leaning closer to a 67. This was a permanent mod though and I think the inner tube mod that robschnapf is talking about its easily reversible? I will add that I have heard there are one or two Fred 670's floating around that are suppose to be outstanding? Is this a rumor cameronlabs or fact? Doesn't ioaudio have a 87-67 mod too? Where you just drop it right in? Max is the man, groupdiy.com/index.php?topic=58030.0
|
|
|
Post by tonycamphd on Dec 9, 2015 10:14:46 GMT -6
We used to have a Fred Cameron 660 (or some sort of vari-mu compressor) but it started to not sound so great anymore so we sold it because there wasn't any information about it and Fred had passed away and we didn't want it to sit on a tech's bench for a year...it was a nice unit! I'd like to know what the preamps are. They look card based so I was wondering if there were old API or UA 1108's. It's not my unit so I can't really tear into it. awe man, it was probably just tubes going bad? one of 12!(i think there's 12..right?), how long ago did you sell it? those things are so cool and so out of reach it'$ not even funny, jsteiger how'd your 660 fare after the post office debacle?
|
|
|
Post by tonycamphd on Dec 9, 2015 8:28:26 GMT -6
Foote Control Systems is blowing out the last of their 500 series simple RMS based compressors for $175 ea direct, down from $325. They are really good, and a pair links via the 500 rack link pin (in racks that have it) when in correct adjacent positions. went to site, didn't see anything about this?
|
|
|
Post by tonycamphd on Dec 9, 2015 7:58:27 GMT -6
4x Aphex 651 Expressors & 2x Aphex 661 Expressors. The 651's are mainly used as peak limiters when tracking. Fast attack and release with a fairly high threshold. Most of the time they aren't doing all that much and are there just to avoid clipping the converters which they manage to do quite invisibly. The more character type comp/limiters are generally used during mixing. wow, only six.... sigh.... I have 7-651's haha, JW modded, they are really perfect for invisible, and can really do some seriously controlled time based shuckin and jivin without demanding all of the attention.
|
|
|
Post by tonycamphd on Dec 8, 2015 21:50:05 GMT -6
Interesting, it looks remarkably like a MONO buss compressor, how much is it? any pics of inside? Haven't heard too much on how the La2a ish compressor sounds, or the other rig he's doing, dudes keeping busy for sure.
|
|
|
Post by tonycamphd on Dec 8, 2015 21:44:51 GMT -6
BTW - AD is harder to evaluate until you start stacking things...but you can rest assured knowing this is giving you a great transparent entry point. By stacking things you mean outboard gear, right? I'm still very much ITB at the moment, but I am slowly starting to venture into the world of hardware. Well, not really. Just barely scratching the surface. Few days ago I've purchased my first piece of gear - a Sebatron VMP-2000e preamp. Something tells me that this is only the beginning and I'm on a verge of developing a serious and expensive addiction. he means multiple tracks of instruments AD converted into your daw, that is when the benefits of great AD and clocking become obvious for most, a single track not so much.
|
|
|
Post by tonycamphd on Dec 8, 2015 19:17:03 GMT -6
Poor Tony... he said he's waiting on the arrival of 4 chips, then they're on their way..... i'm going to start holding my breath, it was nice knowing ya'll.... 8)
|
|
|
Post by tonycamphd on Dec 8, 2015 19:03:06 GMT -6
yes, but don't expect to hear that improvement for about a year! Also, welcome to the forum, not because i feel the need to welcome you, but because I'm afraid not to, considering your avatar..
|
|
|
Post by tonycamphd on Dec 8, 2015 17:20:22 GMT -6
Smart people make the stupidest mistakes! Also, the stupidest people make the stupidest mistakes. Need proof? Me. what is worse yet is when you think you're smart(like me most times 8), and you find out over and over you're not, but still continue to find a way to think you are haha, case in point, I designed my room around my console/gear being at one end, i went to treat the ceiling in said end and rolled my console to the other end to get it out the way, and then i was like "holy shit, that looks like it belongs there", and after some head scratching and testing, it most certainly does, it sounded better, looked better, felt better, then my pal came over later that night, walked in and said "holy shit, man, that looks better over there" haha, and then we tested a bit more, the kick drum off my kit explodes where the console was supposed to go, the room's actual shape in that area serves to project drums now that i look at it,... as if i spent the last 2 1/2 years designing it for exactly that, but alas, I most certainly and sadly did not, no worries though, i'll take it! i'm actually excited about it, it's blown some energy into depressed boy a bit, doesn't fix my derp derp 8/, though I'm sure i'll be back to a self anointed super genius in no time 8)
|
|
|
Post by tonycamphd on Dec 8, 2015 13:15:42 GMT -6
this is a good thread! in my templates that have the fab filter proQ2 on every channel, they are all pre set for 1st order linear phase, so i don't get any weird phase shifts or resonances that smear and rob power, you just have to watch out for low freq transient pre ringing stuff.
|
|
|
Post by tonycamphd on Dec 8, 2015 9:29:03 GMT -6
So friggin cool! Never even used a Helios. Right or wrong, I always attribute that stoney hypnotic zep/stones vibe to the Helios stuff, seem right to u?
|
|
|
Post by tonycamphd on Dec 8, 2015 9:14:12 GMT -6
Good stuff, the idea with filtering during tracking is to be conservative, u can always filter off more at mix time, I have a filter set on every track of my session templates, they don't always get used, but mostly do.
|
|
|
Post by tonycamphd on Dec 7, 2015 23:31:37 GMT -6
Here's what i believe, that you and Bob and probably 50 others on the forum know way more about all the OS stuff than i ever will, but what i do know is that i never have a single issue with my 2009 Nahalem mac pro, it absolutely crushes anything i can throw at it, i can load 32 channels with linear phase eq plugs on every track, and it doesn't even hit 25% cpu load, and when it comes to everything else i do on it, from streaming Netflix, itunes radio, porn... eh, i mean porridge recipe net searches , it just kicks ass and is so unbelievably simple to use and stable, i totally love it! I could never say that about my old pcs, i liked them ok, but was never nearly as impressed as I am with this thing, the peace of mind and confidence is worth the extra cost to me.
|
|
|
Post by tonycamphd on Dec 7, 2015 21:51:39 GMT -6
You know, I posted this as a side note in my thread about Cubase versions and their windowing....but, it's more apropos here: What on earth has Apple been doing with their OS that breaks backwards compatibility with FULLY intel and FULLY 64bit audio code and drivers? OSX.7/8 were fully 64bit and fully intel codebase....and yet, there's some dividing line that makes no sense to me--on the hardware side, I'm looking for an inexpensive SPDIF IO box and everything seems to either work with 10.6/7/8....OR....10.9+. The Cubase REQUIRES 10.10? Really? This is what I was warning about the paradigm of "free thus expected OS upgrades"--but, even I wouldn't have guessed it would move to being this bad this quickly. Every single one of those pieces of hardware AND software run on Windows7 64bit. Not to mention that extreme level of backwards compatibility Microsoft carried with 32bit WOW emulation....I've said for a long time as a user of both--Windows is by FAR the superior OS AND that's often functionally irrelevant for a given individual's use case. When I built this current Win7 box it was for similar reasons--they were fully 64bit and Apple was struggling with sort of half 64bit and half Motorola code and PPC emulation--where I paid for no upgrade other than Cubase 6 (and that wasn't a requirement-as 4 ran fine) on Windows, I counted something along the lines of $800 in paid upgrades I was going to have to do and one VI I was going to LOSE going with OSX.5/6 which was current then. I dunno. I made the decision some time ago to use whatever Turing Machine happened to be around for recording as I transitioned back to just doing my own work....but, I LIKE Apples. I grew up with Macs. But, for audio they're such a crazy moving target. They've never had the backwards compatibility of Windows....but, in a panned back timeframe, that's not all bad....but, when a 3 year old laptop is a minefield to get to run current software or peripherals to use in the studio as more than the occasional "software instrument host".... I hear ya, but to be the devil's advocate, I'd argue that a laptop is not a serious recording computer, a mac pro is.
|
|
|
Post by tonycamphd on Dec 7, 2015 21:43:26 GMT -6
I think its hard to make a general statement about it. For example, some soft synths can have sub information down to 2 HZ. You cant hear it, but as soon you start hpf it you miss something. From experience I can tell that the advise to hpf every track, which some AE pray, is going to cut the balls out of ypur mix. It depends. I even try to fell with my feet and body, is my desk vibrating? There is more than one way to hear/feel something. I agree if it's done improperly, leaving a bunch of low level stuff 30hz down to 2hz is going to cause the woofs to work to hard representing those freq's at the expense of everything above it in the mix, and once it hits a media outlets compressors.... your finished!
|
|
|
Post by tonycamphd on Dec 7, 2015 21:39:52 GMT -6
1st and 2nd order HP/LP filters are THEE shit, the butterworth slopes are the ones i prefer, they give a hell of a musical angle above and below the fundamental, in a good sounding room, you should be able to take a mic locker, use good placement and filters to come up with a very close to a properly eq'd mix, It's a must to have an understanding, and be able to hear where the fundamentals of instruments ly, then you're golden, the only reason a mastering engineer should need to filter off the bottom is if you missed a bit of lowend grunge when you mixed, or there's some kinda other problem that showed up, if i was a ME, i'd probably just do it no matter what to be safe. The absolute importance of HP/LP filtering seems surprisingly overlooked/misunderstood, show me a mix where the AE doesn't use HP filters, and i'll show you an amateur sounding mix.
|
|
|
Post by tonycamphd on Dec 7, 2015 10:00:05 GMT -6
...I ruined the season. All my fault. Sorry Pats.
|
|
|
Post by tonycamphd on Dec 7, 2015 9:48:06 GMT -6
ahhh, careful stratboy, the importance of context... This was posted in the CLASS..... ifieds on thanxgiving day, i had no idea that J was a lions fan....? the funny part is i was routing for the Pats in the SB last year, jcoutu1 A backup qb and a 4-7 team in shambles, awww, thats too bad.... in case you forgot the score, it was 4-7 Eagles 35, the 10-1 Pats 28 hahahahahah!
|
|