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Post by Guitar on May 8, 2019 15:02:26 GMT -6
Whoops, got my Godrich/Thorp projects mixed up... Thorp has talked about Nigel's philosophy in a few different interviews of getting almost 100% of the sound upfront (or as close as possible) including tons of tracking EQ and compression. Defintiely inspiring from a production standpoint, but a testament to really picking who you work with and in what ways. Look at most of the people Godrich has decided to produce- many of them sound great on a SM58 or a vintage M49; and the musicians are great players with great sounds too! I don't know if it applies to ITB mixing exactly, what I mostly do, but some people have noted "heavy use of EQ and compression" That is sort of inspiring to me even ITB. A no holds barred appraoch to mixing, putting processing wherever it feels the best, on buses or whatever, not being shy about it. I certainly am heavily influenced by Nigels work. It's kind of a backwards thing for me to try to figure out how it has programmed me, rather than trying to consciously emulate it. At this point, it's heavily in my sonic DNA. Mostly from Radiohead and Beck, but also in general I guess. Which is why I was so astounded how much I love Tom Elmhirst and Darrell Thorp working together. To me they came up equal rather than short, with the Morning Phase record.
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Post by sirthought on May 8, 2019 15:55:34 GMT -6
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Post by seawell on May 8, 2019 17:52:06 GMT -6
I find it absolutely comical for someone to say that they can hear the sound of an ITB mix. Of course you can when someone has told you it was, but when it comes to picking one blind, there's now way I or you could do it. If ITB had an awful sonic signature, don't you think that Andrew Scheps could hear it and do something about it? I think it has been well stated in this thread that good work can be done ITB, no argument there. It’s the truly GREAT work that I have yet to hear ITB. In other words those tracks that make it into your mix references folder because those are the ones you strive to match and hopefully exceed one day in your own work. When I hear a mix that I want to add to the references folder, I go searching through the credits hoping it’s ITB! It just hasn’t happened yet for me.
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Post by ragan on May 8, 2019 18:23:13 GMT -6
I find it absolutely comical for someone to say that they can hear the sound of an ITB mix. Of course you can when someone has told you it was, but when it comes to picking one blind, there's now way I or you could do it. If ITB had an awful sonic signature, don't you think that Andrew Scheps could hear it and do something about it? That's a ridiculous claim, yeah. The claim you can back up, with some effort, is: "Using ______ hardware sounds better than using _____ software emulations of that hardware." I've done it, many times. Pick some hardware EQ and compression that you like (and have) and print several tracks through it and also through corresponding plug-in versions. Level match and compare blind. It's not hard to hear the edge good hardware has over good plugins. But that's an entirely different thing than the notion that, just given a mix, you can somehow tell whether hardware or software or both was used on it. There'd be no chance of it unless you were comparing it to the other options. Rigidly ascribing any present state to specific things in the past is always problematic. You simply don't have access to what the present would be like if different things had happened. And as far as this specific example, the relevant question is: "Is the sonic benefit hardware brings worth giving up the various enhancements that using software provides? Which one nets a better production in the end?" The answer to that question is different for each of us. For me, it's hybrid.
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Post by mrholmes on May 9, 2019 1:26:03 GMT -6
Uhhh I find AS ITB mixing approach interesting. Myself I made the experience that parallel compression sounds best mixing ITB As is doing it all the time.
Same is true for saturation tools. He talks a lot about how he uses the plug ins.Inspiration to try new things.
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ericn
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Post by ericn on May 9, 2019 6:32:13 GMT -6
There is a hybrid solution for unlimited recalls that I've tried and its way better than plugins alone. Its not at all as great as actually mixing down in analog, but the whole recall excuse is avoided and the sound is greatly improved. Something the radio guys should try. here it is: It takes approximately 1 hour to re-record every track through some gear one track at a time. 1 hour! just 1! I know I'm lazy too... I'd rather spend an hour typing this lol. 1 hour = unlimited recalls. It feels just like being at the tracking session, except its MUCH faster, no stress, actually its a lot of FUN because you know you can't ruin anything ...and there's no annoying somebody over your shoulder! Record the tracks through the summing bus back in stereo = the stereo summing bus is already part of the sound. I figured to try this because in a song when an instrument is solo, say a singer, they are the only thing going through the stereo summing buss... and it sounds great. So why not each instrument by itself in stereo? Tried it, it works. Sounds a little looser-wide than a normal sum as everything is on its own wide bus, but still sounds pretty neat. Can always ditch one leg of the stereo file and get mono if its too wide. I use this for the tone of the hardware. I'll also do an extra 'distortion' track on a few things, sounds so much better than the plugins emulating overdrive. So if I think I'll need it, its already there part of the project. Also some compression passes. Backing vocals, solo's, and toms take less than a minute. just scroll over to where they are at, hit record, done. This makes multiple experimental passes quick and easy as well. Then ITB its time to be surgical and print. I need to try this again and I'll share some before after. OK having talked to a number of guys who have been forced to go from working in some great rooms to ITB at home. At your main source of income how many free hours of labor do you give them ? Because that’s what that hour is, your not going to be paid more, it’s not going to get you more jobs, on a job that you probably dropped your pants to get. That’s the reality of a modern AE, your spending more time chasing work, trying to get paid for work done and changing the level or compressing the cowbell by a 1/4 dB to where it was in the first mix you sent. All this on a job that gives you no insurance or retirement plan. It’s no longer the glory days.
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ericn
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Post by ericn on May 9, 2019 6:43:24 GMT -6
I find it absolutely comical for someone to say that they can hear the sound of an ITB mix. Of course you can when someone has told you it was, but when it comes to picking one blind, there's now way I or you could do it. If ITB had an awful sonic signature, don't you think that Andrew Scheps could hear it and do something about it? I don’t entirely disagree, I don’t think all of the sound that is attributed to ITB is from ITB, I think a lot of it is poor tracking and poor tracking spaces. Today’s artist don’t spend the time they used to because recorded music is no longer the product it’s now the advertisement. The budget isn’t there for the great rooms. But that also effects the mixers choice of how and where to work more than sonics, hell I was watching some Chicago PD reruns and there were a couple of shows with scenes in a recording studio, Ill bet that studio made more in those months of shooting than any other time that year. Understand feeding the family comes first.
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Post by jeremygillespie on May 9, 2019 13:28:55 GMT -6
There is a hybrid solution for unlimited recalls that I've tried and its way better than plugins alone. Its not at all as great as actually mixing down in analog, but the whole recall excuse is avoided and the sound is greatly improved. Something the radio guys should try. here it is: It takes approximately 1 hour to re-record every track through some gear one track at a time. 1 hour! just 1! I know I'm lazy too... I'd rather spend an hour typing this lol. 1 hour = unlimited recalls. It feels just like being at the tracking session, except its MUCH faster, no stress, actually its a lot of FUN because you know you can't ruin anything ...and there's no annoying somebody over your shoulder! Record the tracks through the summing bus back in stereo = the stereo summing bus is already part of the sound. I figured to try this because in a song when an instrument is solo, say a singer, they are the only thing going through the stereo summing buss... and it sounds great. So why not each instrument by itself in stereo? Tried it, it works. Sounds a little looser-wide than a normal sum as everything is on its own wide bus, but still sounds pretty neat. Can always ditch one leg of the stereo file and get mono if its too wide. I use this for the tone of the hardware. I'll also do an extra 'distortion' track on a few things, sounds so much better than the plugins emulating overdrive. So if I think I'll need it, its already there part of the project. Also some compression passes. Backing vocals, solo's, and toms take less than a minute. just scroll over to where they are at, hit record, done. This makes multiple experimental passes quick and easy as well. Then ITB its time to be surgical and print. I need to try this again and I'll share some before after. OK having talked to a number of guys who have been forced to go from working in some great rooms to ITB at home. At your main source of income how many free hours of labor do you give them ? Because that’s what that hour is, your not going to be paid more, it’s not going to get you more jobs, on a job that you probably dropped your pants to get. That’s the reality of a modern AE, your spending more time chasing work, trying to get paid for work done and changing the level or compressing the cowbell by a 1/4 dB to where it was in the first mix you sent. All this on a job that gives you no insurance or retirement plan. It’s no longer the glory days. This all reminds me of the first thing I tell the interns or kids that Walk into the studio wanting to be the next big engineer or producer. Go get a job in TV or post. Produce your friends bands on the weekends, but get into a “real” job ASAP. I had a great intern that became my assistant for about a year. She kind of saw how limited the work was, how much time it took and how much dedication it took to be good enough to get work. She applied for a job at one of the biggest news companies and got it. Makes more than I do, has incredible insurance, 401k, is still able to climb positions, most importantly - she knows how much she is making each year. I live pretty modestly, just because I have to put an incredible amount of money away each time I get paid to insure I don’t get into a bad spot, and I have no interest in being in any sort of debt whatsoever. I’m ALMOST to the point of jumping ship to that line of work, but I’ve got a few more years left in me. Plus, I just love the work so much. I can’t imagine having a big ass smile on my face at any other job pulling 14 hours days...
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Post by the other mark williams on May 9, 2019 13:34:54 GMT -6
There is a hybrid solution for unlimited recalls that I've tried and its way better than plugins alone. Its not at all as great as actually mixing down in analog, but the whole recall excuse is avoided and the sound is greatly improved. Something the radio guys should try. here it is: It takes approximately 1 hour to re-record every track through some gear one track at a time. 1 hour! just 1! I know I'm lazy too... I'd rather spend an hour typing this lol. 1 hour = unlimited recalls. [...] OK having talked to a number of guys who have been forced to go from working in some great rooms to ITB at home. At your main source of income how many free hours of labor do you give them ? Because that’s what that hour is, your not going to be paid more, it’s not going to get you more jobs, on a job that you probably dropped your pants to get. That’s the reality of a modern AE, your spending more time chasing work, trying to get paid for work done and changing the level or compressing the cowbell by a 1/4 dB to where it was in the first mix you sent. All this on a job that gives you no insurance or retirement plan. It’s no longer the glory days. It's all true, ericn. We just found out Søren will not qualify for Medicaid starting in June, so I am quite suddenly in the position of looking for a "with benefits" full-time job. Not too many of those in an audio related field. Unless any of you happen to know of one???
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Post by the other mark williams on May 9, 2019 13:40:42 GMT -6
OK having talked to a number of guys who have been forced to go from working in some great rooms to ITB at home. At your main source of income how many free hours of labor do you give them ? Because that’s what that hour is, your not going to be paid more, it’s not going to get you more jobs, on a job that you probably dropped your pants to get. That’s the reality of a modern AE, your spending more time chasing work, trying to get paid for work done and changing the level or compressing the cowbell by a 1/4 dB to where it was in the first mix you sent. All this on a job that gives you no insurance or retirement plan. It’s no longer the glory days. [...] I had a great intern that became my assistant for about a year. She kind of saw how limited the work was, how much time it took and how much dedication it took to be good enough to get work. She applied for a job at one of the biggest news companies and got it. Makes more than I do, has incredible insurance, 401k, is still able to climb positions, most importantly - she knows how much she is making each year. [...] I’m ALMOST to the point of jumping ship to that line of work, but I’ve got a few more years left in me. Plus, I just love the work so much. I can’t imagine having a big ass smile on my face at any other job pulling 14 hours days... ...and there you go. Post, etc. And I just saw an NPR job listed two days ago, and I'm trying to put a resume together right now, actually. But your last sentence is *exactly* the problem that's giving me stomach cramps.
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Post by christopher on May 9, 2019 14:01:30 GMT -6
I’ve been doing day jobs to make ends meet for a long while now, this field is a nightmare for making money. The day jobs I’ve found are absolutely horrible compared to working on music.. I’d still rather you guys get the music jobs, you are good at it! I’m now happier working on one project at a time, taking our time to demo it out, so that I can connect and enjoy it. I guess I’m more in the producer role /label owner role now, because I’m investing my time to hopefully make something that the band and I can thoroughly enjoy.
On vocals we do a take, listen back and we stop and chat for 10 minutes about the song, the way it feels, what the lyrics mean. Chat about things in life, do some vocal excercises , talk about websites and other bands.. then do another take.
Instead of racing against the clock, and trying to force things.. each take is coming out really good. So it feels like I’m not getting stuff done, lol, but what is getting done is pretty nice. They perform take 2 and 3 like they are about to go on stage, not just hammer it out real fast. It’s different than I’ve ever worked. And they do pay a set rate, not much or by the clock, but enough to cover my expenses and a meal you know? .
Maybe for the big name mixers they are in a race against time. Also these guys who have used the best gear for decades they might be really excited to work ITB, it might jazz them all up inside. Maybe they are sick of the 80 series and real Fairchild’s and feel statisfied the plug is close enough. It is true once recorded the act of using the gear is a memory. A really good sounding memory!
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ericn
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Post by ericn on May 9, 2019 16:59:43 GMT -6
OK having talked to a number of guys who have been forced to go from working in some great rooms to ITB at home. At your main source of income how many free hours of labor do you give them ? Because that’s what that hour is, your not going to be paid more, it’s not going to get you more jobs, on a job that you probably dropped your pants to get. That’s the reality of a modern AE, your spending more time chasing work, trying to get paid for work done and changing the level or compressing the cowbell by a 1/4 dB to where it was in the first mix you sent. All this on a job that gives you no insurance or retirement plan. It’s no longer the glory days. It's all true, ericn. We just found out Søren will not qualify for Medicaid starting in June, so I am quite suddenly in the position of looking for a "with benefits" full-time job. Not too many of those in an audio related field. Unless any of you happen to know of one??? Mark, I feel for you guys on that one, it might be worth that NPR gig. I know a lot of guys who have enjoyed public radio gigs and doing music as a side gig. Beats driving for Uhber or at Walmart! How many Nashville Uhber drivers have Grammys mounted on their dashboards.
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Post by mrholmes on May 9, 2019 18:37:47 GMT -6
It's all true, ericn. We just found out Søren will not qualify for Medicaid starting in June, so I am quite suddenly in the position of looking for a "with benefits" full-time job. Not too many of those in an audio related field. Unless any of you happen to know of one??? Mark, I feel for you guys on that one, it might be worth that NPR gig. I know a lot of guys who have enjoyed public radio gigs and doing music as a side gig. Beats driving for Uhber or at Walmart! How many Nashville Uhber drivers have Grammys mounted on their dashboards. The Grammy story + Uhber is a joke?
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Post by the other mark williams on May 9, 2019 19:22:49 GMT -6
Mark, I feel for you guys on that one, it might be worth that NPR gig. I know a lot of guys who have enjoyed public radio gigs and doing music as a side gig. Beats driving for Uhber or at Walmart! How many Nashville Uhber drivers have Grammys mounted on their dashboards. The Grammy story + Uhber is a joke? mrholmes : maybe, maybe not. Nashville can be a crazy place sometimes. Relatedly, I know of a Tony-award winning actor who worked retail in Times Square (NYC) following winning the award. Couldn't find musical theater work, despite the accolades.
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Post by ericn on May 9, 2019 19:45:06 GMT -6
Mark, I feel for you guys on that one, it might be worth that NPR gig. I know a lot of guys who have enjoyed public radio gigs and doing music as a side gig. Beats driving for Uhber or at Walmart! How many Nashville Uhber drivers have Grammys mounted on their dashboards. The Grammy story + Uhber is a joke? A bit of dramatic license, but I’m sure there is at least a few! I have heard many versions of Mark’s story, but that’s show biz!
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Post by mrholmes on May 10, 2019 0:37:20 GMT -6
The Grammy story + Uhber is a joke? A bit of dramatic license, but I’m sure there is at least a few! I have heard many versions of Mark’s story, but that’s show biz! If that's true for parts of the it land for show biz. Than its kind of a sad story. For sure it's 100% unfair/ignorant to those who make such a experience. And it may explains that mixing ITB became reality. We all became a part of the cheaper game. Mp3 for free, cheap food... Work more for less. In other words society ignores the value of art. Money is the old and new God. Work more for less.
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ericn
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Post by ericn on May 10, 2019 5:59:36 GMT -6
A bit of dramatic license, but I’m sure there is at least a few! I have heard many versions of Mark’s story, but that’s show biz! If that's true for parts of the it land for show biz. Than its kind of a sad story. For sure it's 100% unfair/ignorant to those who make such a experience. And it may explains that mixing ITB became reality. We all became a part of the cheaper game. Mp3 for free, cheap food... Work more for less. In other words society ignores the value of art. Money is the old and new God. Work more for less. I call it the Walmart effect: everybody wants low prices and good wages, but you can’t have both!
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Post by drsax on May 10, 2019 8:03:04 GMT -6
Digital and analog are both tools. It’s all about the hands and ears of the person who is using those tools. Although I myself love analog in a hybrid setup, and what it does to an audio signal, I think that the best mix engineers working ITB have had ample experience with outboard analog gear and that has helped them get better results out of plug-ins, because there is a frame of reference engrained in their mind from working with analog - and from years of experience understanding what various processing does to an audio signal. When I started out, I used almost all plug-ins because it’s all I could afford. But after working with quality hardware for the past 20 years, my ability to get good results out of plug-ins has increased significantly. Even though it’s more fun to use outboard gear, I can get top notch, albeit slightly different results out of plug-ins if need be. But personally, please don’t take my analog away, it sounds so good and it’s so much fun 😀
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Post by Tbone81 on May 10, 2019 10:29:07 GMT -6
[...] I had a great intern that became my assistant for about a year. She kind of saw how limited the work was, how much time it took and how much dedication it took to be good enough to get work. She applied for a job at one of the biggest news companies and got it. Makes more than I do, has incredible insurance, 401k, is still able to climb positions, most importantly - she knows how much she is making each year. [...] I’m ALMOST to the point of jumping ship to that line of work, but I’ve got a few more years left in me. Plus, I just love the work so much. I can’t imagine having a big ass smile on my face at any other job pulling 14 hours days... ...and there you go. Post, etc. And I just saw an NPR job listed two days ago, and I'm trying to put a resume together right now, actually. But your last sentence is *exactly* the problem that's giving me stomach cramps.
You know what man, if I could offer some words of encouragement, let me say that getting a "day job" could be the best thing that ever happened to you. I know a lot of people are feeling down on the state of the industry and feeling like its a failure, or a some type of retreat to go from working in production full time to getting a day job but it doesn’t have to be that way. About five years ago I got a side gig/day job/real job (whatever you want to call it) and its saved my love for music. I struggled for 13 years working in music full time. Someone once said that surviving is succeeding in the music biz...well that was me, surviving for over a decade but never flourishing. And I was ok with that for a long time. But I came to a point where I realized that I could only sustain myself, and could never afford to have a family, support a wife, child, buy a house etc. Also I was killing my love for music. Slaving away on projects I hated, for less money than I deserved, always chasing a dollar and always feeling cheated. Always undercutting myself just to get the gig. It was draining and really self defeating after a while. So I went back to school and got a job in the medical field. Its five years later and I have a wife, a kid, I bought a house, I have insurance, a 403(b), benefits, and I only work 3 days a week in the Hospital. The rest of the week I record and mix (mostly local) bands and artists. I’m slowly looking for a live sound gig as I think it would fun to do that again 1-2 nights a week. The best part of all this is my love and passion for music has grown exponentially, and my skill with it. Being able to pay all my bills with my day job affords me the ability to turn down gigs. Imagine that! Being able to say no because the project doesn’t pay enough, the music sucks (or just doesn’t speak to me) or because its an otherwise bad proposition is so empowering. Now, I’m committed to only working with music/artists that I actually like. People that are fun to be around, and music that actually speaks to me. Its so much more rewarding. For a while I was actually embarrassed to admit to people that I had a day job, like it somehow diminished my status as a professional. Now I’ve come to grips with it and I’m proud. Proud because I did what was right for my family. Being able to show off that I worked in music full time brought me a little bit of satisfaction, but being a father/husband, and providing a great life for my family has brought infinitely more joy and fulfillment. So good luck with that NPR gig, but if it doesn’t work out don’t worry, just keep hustling and find something else. Even starbucks offers insurance to their part time employees, not a bad gig when you think about it. Remember that your skill set as a musician and audio engineer has made you an analytical problem solver AND a creative, out-of-the-box thinker. Those are skills that are highly valuable in the world.
Good luck with the job hunt and best regards to you and your family.
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Post by christopher on May 10, 2019 11:01:37 GMT -6
Digital and analog are both tools. It’s all about the hands and ears of the person who is using those tools. Although I myself love analog in a hybrid setup, and what it does to an audio signal, I think that the best mix engineers working ITB have had ample experience with outboard analog gear and that has helped them get better results out of plug-ins, because there is a frame of reference engrained in their mind from working with analog - and from years of experience understanding what various processing does to an audio signal. When I started out, I used almost all plug-ins because it’s all I could afford. But after working with quality hardware for the past 20 years, my ability to get good results out of plug-ins has increased significantly. Even though it’s more fun to use outboard gear, I can get top notch, albeit slightly different results out of plug-ins if need be. But personally, please don’t take my analog away, it sounds so good and it’s so much fun 😀 I’m a similar story, I thought that software was exactly the same as hardware and thought these old guys who demand the expensive analog stuff are delusional. Spent years and years and years trying to make digital sound like the records. I’d be on my headphones after work every night till 3am. I knew there’s only a few things you can do with audio: speed it up, slow it down, flip phase, change it’s volume, add distortion. All processing is a blend of those things. And the idea was, I can make any sound using plugins that are stock with any DAW if I use them right. So I’d design plugin chains to mimic analog gear: a little guitar amp plugin on lightest setting, followed by some filters, clone the track a few times and do multiband with different amounts of distortion on each track. A snare might have 5 - 10 channels depending how experimental I wanted to get. Load in any reference and I’d sit there and match the snare to any snare sound. I could do it!!! Or so I thought. The results were right on target but they were ugly and hideous, lifeless, nothing enjoyable about it. So try to add some life, try small room reverbs.. small delays 5-15ms panned and filtered every which way. Still not good enough, send it all to a bus and gently parallel some chorus. A control freak with unlimited control at the controls. That’s how I can hear when they work entirely interface and ITB.. the final sound is hard to sit with so you end up adding weird reverbs and delays and wideners and etc. almost all pop I hear on the radio does this now. (Or the radio station does it to everything) Theres one other thing you can do with audio that they didn’t tell me: You can RE-VOICE it. And it’s the best. it makes sense revoicing is audible, everything has a voice.. When Walt Disney and Jim Henson passed away, they have spent decades trying to replace their voices. And the new voices are as close as possible and most people would never know the difference. (I think they are great btw, as close as possible match) But if I hear original Mickey or Kermit.. its instantly recognizable. How could that be? Decades of trying to match, but the original is instantly recognizable. Must be all frequencies in our hearing range are very sensitive to spectral dynamics, or something we haven’t figured out.
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Post by mrholmes on May 11, 2019 1:39:40 GMT -6
Digital and analog are both tools. It’s all about the hands and ears of the person who is using those tools. Although I myself love analog in a hybrid setup, and what it does to an audio signal, I think that the best mix engineers working ITB have had ample experience with outboard analog gear and that has helped them get better results out of plug-ins, because there is a frame of reference engrained in their mind from working with analog - and from years of experience understanding what various processing does to an audio signal. When I started out, I used almost all plug-ins because it’s all I could afford. But after working with quality hardware for the past 20 years, my ability to get good results out of plug-ins has increased significantly. Even though it’s more fun to use outboard gear, I can get top notch, albeit slightly different results out of plug-ins if need be. But personally, please don’t take my analog away, it sounds so good and it’s so much fun 😀 I’m a similar story, I thought that software was exactly the same as hardware and thought these old guys who demand the expensive analog stuff are delusional. Spent years and years and years trying to make digital sound like the records. I’d be on my headphones after work every night till 3am. I knew there’s only a few things you can do with audio: speed it up, slow it down, flip phase, change it’s volume, add distortion. All processing is a blend of those things. And the idea was, I can make any sound using plugins that are stock with any DAW if I use them right. So I’d design plugin chains to mimic analog gear: a little guitar amp plugin on lightest setting, followed by some filters, clone the track a few times and do multiband with different amounts of distortion on each track. A snare might have 5 - 10 channels depending how experimental I wanted to get. Load in any reference and I’d sit there and match the snare to any snare sound. I could do it!!! Or so I thought. The results were right on target but they were ugly and hideous, lifeless, nothing enjoyable about it. So try to add some life, try small room reverbs.. small delays 5-15ms panned and filtered every which way. Still not good enough, send it all to a bus and gently parallel some chorus. A control freak with unlimited control at the controls. That’s how I can hear when they work entirely interface and ITB.. the final sound is hard to sit with so you end up adding weird reverbs and delays and wideners and etc. almost all pop I hear on the radio does this now. (Or the radio station does it to everything) Theres one other thing you can do with audio that they didn’t tell me: You can RE-VOICE it. And it’s the best. it makes sense revoicing is audible, everything has a voice.. When Walt Disney and Jim Henson passed away, they have spent decades trying to replace their voices. And the new voices are as close as possible and most people would never know the difference. (I think they are great btw, as close as possible match) But if I hear original Mickey or Kermit.. its instantly recognizable. How could that be? Decades of trying to match, but the original is instantly recognizable. Must be all frequencies in our hearing range are very sensitive to spectral dynamics, or something we haven’t figured out. One more time it's very I intresting to read how Andrew uses the plug ins. He is doing some wired chains on LV for example. For the rest, yes I too find it more easy to use hardware...to be fair. If I copy a LV track and mimic a similar chain with quality plugs and level match precisely..a lot of the big differences fade away. What bothers me on plugs. They can sound good, but real gear does something to the sound / dynamics as soon I insert it. Slate did a great Job on the VCC his 1176 are great too but the handling is stupid. To my ears they do something as soon I insert them. I disagree in one point I have had great results ITB too, special when I used Magic AB to compare the ITB mix to my favorite analog ones. Was it fun depends on my mindset. ITB is a different fun. It can free creativity when I keep in mind that I can work on different songs in one day. That's the only reason why I wish to get constant results ITB.
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Post by Bob Olhsson on May 11, 2019 13:39:39 GMT -6
Most people hit plug-ins way, way harder than they ever hit analog equipment.
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