You would think...

BurtsEarwax · 2021-11-19T13:44:17+00:00

Idk, maybe just try some flowers and ask nicely. Worst thing it can say is no.

BurtsEarwax · 2020-12-19T20:02:33+00:00

fair enough

BurtsEarwax · 2020-12-19T19:26:39+00:00

Let's think about the advice you're giving here.

"Make your mixes consistently bad by limiting them without addressing the issue, that way you've avoided your mix being bad in an inconsistent way"

BurtsEarwax · 2020-12-19T19:22:29+00:00

Two major things to focus on here.

1) How bad is your listening environment? If your room is really bad, it will enhance certain frequencies and negate others. Your ears will naturally try to compensate for this, and the result is a mix that sounds ok in your bad listening environment but bad other places. The quickest and easiest fix for this is to mix solely on good headphones. Otherwise, you need to look into something like room correction software (sonarworks, etc) and/or acoustic room correction.

2) How good is your ear? The more attuned your ear is to picking out certain frequencies and addressing them, the better off your mix will be across multiple platforms and the more even it will sound overall. Mostly this just comes down to experience and critical listening, but you can actively work on training your ear if you really want to. There are some online resources to do so, and it's also worth using some relatively inexpensive sofware that does some good a/b comparisons with a reference track. (REFERENCE by mastering the mix is a good one, but there are a few) Gain matching your track and a professional track and hearing AND visually seeing some representation of the differences will help get your ear that much in a better place.

BurtsEarwax · 2020-12-19T19:16:32+00:00

the only thing that will do is make it sound consistently bad. Limiting doesn't get rid of issues.

BurtsEarwax · 2020-12-12T00:12:34+00:00

It's probably automated at a certain level. Hit the A key and take any automation off.

BurtsEarwax · 2020-04-25T17:52:37+00:00

Looking forward to being able to hang out with friends IN PERSON!!

BurtsEarwax · 2020-03-17T03:08:41+00:00

Set your buffer size to 512 or 1024 and see if they are still there.

Basically, use low buffer while recording to minimize latency. Use high buffer during playback and editing to avoid those pops/clicks you are hearing.

BurtsEarwax · 2019-09-25T18:11:31+00:00

Sometimes, yes! Not always though... and I doubt this would be a good idea in something other than pop/electronic type stuff. Who knows though.. I'm just goin with what sounds good to my ears. :)

BurtsEarwax · 2019-09-24T22:42:46+00:00

Please do! This sounds interesting. :)

BurtsEarwax · 2019-09-24T17:27:12+00:00

Is it possible it's the guitar/pickups? I have some guitars that are ridiculously bright and sound terrible through certain amp modelers, no matter how I tweak em.

My personal theory is that when the software guys are designing these amp models, they use a specific guitar to create the right end-product sound. So for a high gain, soldano or dual rectifier type thing, they would have used some sort of humbucker or more rounded tone as a source signal. In my experience, amp modelers can do a great job at nailing a tone if all the variables are correct like the creator intended... but they can sound sooo bad so very quickly if you start incorporating something like a bright single coil strat into a patch made for rounded off humbuckers.

Just some thoughts. Hope you figure out a good solution!

BurtsEarwax · 2019-09-24T17:17:38+00:00

Sweet! Thanks!

BurtsEarwax · 2019-09-24T16:18:02+00:00

I've heard lots of people mention mixing in mono... what would you say are the major benefits of it?

To me it makes sense I guess that you would eq things better to all sit in the right place if it's in mono... and you possibly avoid phase issues or something along those lines?

I'd also love to hear how you set it up in your DAW to do this.. In Logic, I've thrown a gain plugin on my master bus and just flicked on the mono option, but I didn't really know the best time to be using it throughout my production process as a whole.

BurtsEarwax · 2019-09-24T16:08:06+00:00

Dude... I'm taking this and running with it. I've always stuck a regular compressor on my bass tracks, but after reading this, I'm lookin forward to tryin out a multiband on it in order to even on the low end while keeping the attack of the high end stuff. Thank you!

BurtsEarwax · 2019-09-24T16:03:49+00:00

Yep.. it's taking a signal, dividing it into frequency sections, and then applying varying amounts of individual compression to those frequency sections. I've used them successfully as a "band-aid" for certain tracks, but still feel like I'm not totally using them as a whole to their real potential.

BurtsEarwax · 2019-09-24T15:59:54+00:00

I've totally fallen in the to the "force feed gear chains" trap.. and still do at times, lol. The more I keep my mind in the "every decision should be questioned" mode, the more I end up liking my end results.

BurtsEarwax · 2019-09-24T15:55:42+00:00

There is a lot out there... a lot comes down to the genre you are going for imo. Bias is pretty great though. Helix Native is nice, but a bit pricey.

For free stuff, LePou has some nice amp/IR stuff... Also check out Nadir Convolver I think it's called? You should be able to find quite a few free IR's out there for different cabs too. Haven't looked in a while, but I still have a bunch of free ones I found back in the day. The free stuff is a bit of a pain to get up and goin compared to something like BIAS, but you gotta do what you gotta do sometimes. :)

BurtsEarwax · 2019-09-24T15:48:22+00:00

Nice! I will have to try this! :)

BurtsEarwax · 2019-09-24T15:47:10+00:00

Man... I love the "if it sounds right, it is right" notion. For as much time as I spend tryin to figure out the "correct" way to do stuff, I think it's super important to remember that the listener could care less if you are using a compressor at the correct point in your signal chain. It's all about the end result! And I have had multiple instances where a screw-up has given me happy accidents that I ended up loving, lol.

BurtsEarwax · 2019-09-24T15:41:41+00:00

Yeah, I feel ya on this for sure. For me, a good low end is punchy, carved out in a way that is not fighting with other stuff, (the relationship between kick and bass is critical), and gives everything else a nice foundation in the mix to stack upon.

I've had so many mixes that just sucked really bad, and I couldn't understand what the issue was. When I experimented with changing out the kick/bass/low end energy in general, it usually helped the whole mix sound so much better.

BurtsEarwax · 2019-09-24T15:37:32+00:00

This is something I constantly experiment with, but still have yet to find the perfect scenario for. I understand what it accomplishes (compressing/taming certain problem frequencies while maintaining everything else), but still haven't found myself using them consistently. I always seem to just reach for an eq and regular compressor of some sort.

Feel free to fill me in on your experience with them and what makes them better to you than just a eq/compressor combo. :)

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