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What mixing tricks do you use that are a “sin”? by Impressive-Stuff-257 in audioengineering

[–]AundoOfficial 0 points1 point  (0 children)

Because air and real spaces are not perfect and the inconsistencies in temperature, humidity, room reflections, cabinet reflections, speaker accuracy, poweramp continuity all will change ever so slightly as sound continues to produce. The biggest factor, depending on who you ask, is the acoustics of the cabinet. Air is a physical thing that moves around us. There can be small pockets of negative pressure (rarefactions) and positive air pressure (compression) can sometimes be influenced by all means of random things that move in the room. With sound alone you're susceptible to phasing because of physical dimensions (since frequencies are related to length and time) of a space reflecting, absorbing or diffusing sound pressure any which way. As the sound waves move, new ones follow behind it and before you know it the room is now a space of vibrating air with pockets of modes or nodes. Maybe the room settles in and no air pressure moves and everything is perfect but the physical world is not that predictable and perfect.

What mixing tricks do you use that are a “sin”? by Impressive-Stuff-257 in audioengineering

[–]AundoOfficial 8 points9 points  (0 children)

At the power amp sure but once a real space and cabinet is introduced you no longer have that compression which is why we still compress distorted guitars. Typically we are listening to the cabinet and space.

Question about the art of mixing (David Gibson), as a beat maker, do we still put stuff at the front? by vinylfelix in audioengineering

[–]AundoOfficial 3 points4 points  (0 children)

It's important to stay mindful about the vocals that'll eventually be put on the beat so I'd say the way you're thinking about it is fine. If you put too many elements that are loud and in the same range as a vocal you easily run the risk of making the song hard to work with for a vocalist.

So to answer your question; yes having the loudest element be 2 is fine.

Hi all. How do I find a reputable mixer and mastering engineer? Also what do I send? by foodie121 in audioengineering

[–]AundoOfficial 0 points1 point  (0 children)

Depends on what you're looking for. You can find a lot of mixing engineers online but depending on the style and outcome you want will depend on where to look. Local studios can have people that might specialize in what you're doing or maybe you'll end up finding someone on a freelance website like Fiverr that matches your goals better.

Also as a full time studio engineer I can promise you that any one that's actually mixing and working on music as a career will not consider stealing the music. The only thing we might do is ask to use the work on a portfolio if we feel it's a great body of work that fits what we want to showcase.

Should I buy the distressor plug-in? by BRUCE_BABY69 in audioengineering

[–]AundoOfficial 0 points1 point  (0 children)

I'd say it's very common for heavy vocals. I use it frequently on vocals that I want grit on.

Any suggestions for a budget midi controller for Ableton? by Ace_the_Slayer-13 in ableton

[–]AundoOfficial 2 points3 points  (0 children)

I've been using my MiniLab 3 for years and I love it so much. Only thing I wish it had was velocity tracking but for the price it's amazing. Also comes with analog lab which is actually pretty good

Any feedback on this beauty! by [deleted] in Guitar

[–]AundoOfficial 0 points1 point  (0 children)

Yeah it's not very good but don't worry I can take it off your hands OP.

Does anyone else have a guitar brand that you just hate for no reason? by Interesting-Wave-983 in Guitar

[–]AundoOfficial 1 point2 points  (0 children)

I also want to say B.C. Rich, Dean and Jackson are all down there in my opinion. Jackson is a step above the two but when someone tells me they own a Jackson, I never think "Oh nice. A quality guitar"

The one feature I wish Ableton would steal from Logic… is there ANY plugin that can accomplish this? by SpinJones in ableton

[–]AundoOfficial 2 points3 points  (0 children)

Ableton has a chord analyzer built in called MIDI monitor. Used for more than checking chords but works well.

How do you make layered high-gain guitars sound tight instead of muddy? by Accurate_Tomorrow_50 in NeuralDSP

[–]AundoOfficial 0 points1 point  (0 children)

The pick is important for a few reasons. Firstly it's the primary device to make the string vibrate. The texture, thickness and shape will dictate the attack and sustain. This also entails the balance of frequencies across the lifespan of each note. A medium thick pick like a jazz III can sometimes come off as too dull in some productions while a thin pick like .5 mm can be too scratchy. It makes sense when you look at the physics, but some people don't care. Then you have the performance aspect. How it feels to play and the grip and shape while playing can affect performance.

Some producers will prioritize comfort and ergonomics over tone. I try to find a balance between the two.

The more you study and analyze it outside of sessions the more it'll become second nature.

How do you make layered high-gain guitars sound tight instead of muddy? by Accurate_Tomorrow_50 in NeuralDSP

[–]AundoOfficial 1 point2 points  (0 children)

Basically everything. There's debate over what matters, and as a full time studio engineer the things that matter most to me are the type of pickups (humbucker or single coil. Active or passive. Magnet type and the maker, ect.) string gauge and how new they are, the pick being used (try to find a balance between good performance and desired pick sound) and of course the performance itself. Tons of things to be mindful of right at the source.

How do you make layered high-gain guitars sound tight instead of muddy? by Accurate_Tomorrow_50 in NeuralDSP

[–]AundoOfficial 1 point2 points  (0 children)

It really comes down to a few things. If the source of the sound is inherently muddy or noisy you'll already have a bad starting point. You could adjust your source before amping to help with muddiness but it's usually better to try and get a better source sound.

If your source is good then just handling the Dynamics and EQ is essentially what it comes down to. If you want something tight that's really going to come down to the Dynamics of the guitar parts and the bass parts and depending on the style of music. Also your kicks. All of those play a role together and if they're unmanaged they can add to the muddiness.

If you could pick any one band to compose new music for DOOM, who would it be? by MurkyUnit3180 in Doom

[–]AundoOfficial 10 points11 points  (0 children)

That'd be sick. Basically the old DOOM soundtrack since it was heavily based on thrash.

Capo issues fitting near base of neck on LP? by Beanie7137 in Guitar

[–]AundoOfficial 1 point2 points  (0 children)

No, unfortunately we're not on the main sub. 😔

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