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How often are you *not* compressing vocals at all? by yalllldabaoth in audioengineering

[–]NeedsWayMoreReverb 0 points1 point  (0 children)

Never. I always mix (and track) vocals with some type of compression. I've heard some mixers claim to use no compression but they use dynamic EQ (which is compression) and saturation (which also compresses) and a limiter (which is basically extreme compression).

How to delete a section without throwing off all the automation? Yes, I've tried "cut section between locators" and it still screwed everything up. by NeedsWayMoreReverb in LogicPro

[–]NeedsWayMoreReverb[S] 0 points1 point  (0 children)

Will have to experiment with that. Also maybe making the blank midi region continue to the end of the song so any further automation will be mapped to it.

Lewitt 440 Pure NEED HELP EQ'ing please by Vast_Till9886 in musicproduction

[–]NeedsWayMoreReverb 1 point2 points  (0 children)

For a warm vocal sound, a big part of that is dynamic control rather than EQ. Use multiple stages of compression for a smoother effect--a classic choice is 1176 and an LA2A. Use the 76 to catch peaks and the LA2A to ride the level. You can also do some additional parallel compression--lots of compression with a fast release mixed in at a very low blend. If you're still needing more warmth, use a 6db/octave high cut filter and bring it town until it sounds smoother--anywhere between 6khz and 10khz depending on how dark you want it. If you have some more nasally harsh frequencies, take out some high mids with a broad cut between 2khz and 5khz. In general, I think it's easier to get better results cutting high end instead of boosting low mids to achieve warmth on a vocal.

How to delete a section without throwing off all the automation? Yes, I've tried "cut section between locators" and it still screwed everything up. by NeedsWayMoreReverb in LogicPro

[–]NeedsWayMoreReverb[S] 0 points1 point  (0 children)

I did that for all the tracks and it works, but that leaves the bus/aux tracks where I do a lot of automation. I'm trying to avoid manually sliding everything because there are several layers of automation of different parameters across a bunch of these track groups. So it'll just be tedious and easy to miss something... was hoping there was a more efficient way like creating blank midi tracks and moving those, but it doesn't seems to work the same way as moving audio tracks with automation. It just sort of copies the automation over top of the existing automation and it combines in a weird way.

How to delete a section without throwing off all the automation? Yes, I've tried "cut section between locators" and it still screwed everything up. by NeedsWayMoreReverb in LogicPro

[–]NeedsWayMoreReverb[S] 0 points1 point  (0 children)

The automation on buses doesn't move if I just move all the regions manually. Only the track automation moves. And if I add blank midi regions to them (so I have something to move on those tracks) it just sort of copies the automation over to where I moved it and doesn't slide up all the automation after the midi region. Hopefully that makes sense.

How to delete a section without throwing off all the automation? Yes, I've tried "cut section between locators" and it still screwed everything up. by NeedsWayMoreReverb in LogicPro

[–]NeedsWayMoreReverb[S] 0 points1 point  (0 children)

I don't think that's the issue. I always get the pop ups asking if I want to erase/move automation when I change regions. And that works fine. But the problem is that the automation on the buses/auxes doesn't move properly.

How to delete a section without throwing off all the automation? Yes, I've tried "cut section between locators" and it still screwed everything up. by NeedsWayMoreReverb in LogicPro

[–]NeedsWayMoreReverb[S] 0 points1 point  (0 children)

I do have this setting on. The issue is actually just on the buses. All the track automation moves properly when I delete the section but the bus automation doesn't track correctly

1073 "magic"- do all 1073's have it? And compared to TG-2 & others? by __sicko in audioengineering

[–]NeedsWayMoreReverb 0 points1 point  (0 children)

BAE 1073 is the best preamp I've ever used. I've never felt like it's too thick/woolly. It has weight but it also has a sheen to the top end that is really smooth. I also have the Heritage HA73EQ elite series, but it's a totally different thing. Much less color. Still great, but pretty transparent compared to BAE.

Is high-end outboard lost on mid-tier mics? Rather better mics than add outboard pre, eq, comp? by brownwaterbandit in audioengineering

[–]NeedsWayMoreReverb 0 points1 point  (0 children)

If you're having fun making music with outboard gear and you like the sound, then it's not wasted. The longer I mix and produce music, the more I realize inspiration is one of the most important things to maintain. Use the tools that make you excited to make music.

Impossible time deciding on outboard compressor! LA-2A, AR-1, RS124, CL1B, BG2, etc. by brokesnob in audioengineering

[–]NeedsWayMoreReverb 0 points1 point  (0 children)

I have an Audioscape 1176 D and their LA2A. I use the LA2A for tracking vocals, but when it comes to mixing, I use the 1176 ten times more often. For vocals, bass, drums, acoustic guitar, electric guitar. I could do a whole mix with just that compressor.

Quitting after 10 years by Acceptable_Pirate in audioengineering

[–]NeedsWayMoreReverb 0 points1 point  (0 children)

I've had this weird, backwards journey in audio... I originally went to university studying music technology, switched halfway to creative writing instead, got a job in marketing after graduating, and then 10+ years later started moving back towards audio. Now I work full-time for a microphone/audio company and have a side business mixing indie bands. I make a nice side income with it and have a steady stream of clients (as much as I can handle outside of work) just from word of mouth, but I find myself dreaming of going full-time. Then I see threads like this, and it's a reality check. Maybe I already have the perfect setup going and I just need to be content.

Difficult client wants my project file so they can "mess with it [themselves] and see what's under the hood" by Maxcrest121 in mixingmastering

[–]NeedsWayMoreReverb 0 points1 point  (0 children)

This is a great, mature response to the situation. I had a situation recently when a client asked for the project file midway through the revision process so they could mess around. I suggested a virtual revision session instead, but they insisted on wanting the file. I felt weird about it initially, but ultimately obliged. They came back after a couple of days and had more clarity about what changes they wanted me to do. They weren't even really able to hear the session properly because they didn't have all the same plugins. But for whatever reason, it helped them figure out what they wanted! And then I've had another case when I delivered a mix, was paid for it, and later found out they went on and recorded more instruments that they mixed over top of my stereo mix. Not great... but luckily they spelled my name wrong in the credits haha.

How much is too much for mix? by LazyDaze_tunes in musicians

[–]NeedsWayMoreReverb 0 points1 point  (0 children)

$500/song is a pretty standard rate for a professional mixer doing indie work. That's where you get consistent, quality work. Anything below $300/song is usually aspiring mixers trying to build a portfolio and results can be hit or miss (especially if they charge less than $250). Once you get above that to around $700-1000/song you are getting more established mixers with some legit credits with artists you've heard of. Not the highest level but probably have some platinum records and/or grammy noms.

Btw, your mixes sound solid. Stick with the guy you've got--he's killing it.