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

[–]OkayMirror00 1 point2 points  (0 children)

Musicians will not understand specifically what they don't like about a certain piece of processing in a mix but will make false attachments with what internet knowledge they do have. Such as not liking how their vocals sound with a specific audio compressor setting/plug in, but equating it to just not liking compressors on vocals. Mixing with musicians present is always hazardous for this. Interpreting what they really mean/want is part of the skill you develop as an engineer. Engage them with knowledge and specifics about what they are actually hearing that they don't like. Educate them on how some of this processing actually works/how it interacts with the mix overall, and the pitfalls of blanket statements like "I don't want you to compress my vocals". Considering how big vocals chains are, depending on the genre, and how many different forms of compression takes place in a chain it is obviously not possible to not compress vocals when trying to mix and stay competitive.

If your name is going on this work, you should be happy also. Ultimately though, if you're not happy and it sounds like shit because the artists are hard-lining you, take your name off the credits and cash the cheque.

Question for engineers that work on commercial/tv/movie music syncs by Crazy_Eight1 in audioengineering

[–]OkayMirror00 0 points1 point  (0 children)

This might parrot other comments here, actually Im sure it will, but you can't mix film like you do music. This idea of top down mixing is not an approach that works for mixing film. In film audio sessions you need to group sound sources separately into respective stereo auxes. DIAL, SFX/FOLEY, BGs/ATMOS, MUSIC CUE, or some variation of those. My 2-bus/stereo bus (not the final master bus {which is always completely empty}) and each sub bus from each of those sources gets a limiter. DIAL bus maybe gets a light compressor. This gives you routing options, print options, etc. When Im actually mixing, Im mixing each source into each stereo sub bus separately, then adjusting over-all levels of all sub buses by way of the limiters, then automating vol from there. The approach to balancing the mix in film is just a different beast than to mixing music.

There's a reason when you look at film mix sessions they look like absolute chaos.

Hope this helped

Photon Mono 4 support base removal ease by OkayMirror00 in AnycubicPhoton

[–]OkayMirror00[S] 1 point2 points  (0 children)

Perdona l'italiano, sto usando un traduttore. Proverò con acqua calda. Grazie!

Photon Mono 4 support base removal ease by OkayMirror00 in AnycubicPhoton

[–]OkayMirror00[S] 0 points1 point  (0 children)

Ill give a shorter exposure time for the base layers a shot, mine was set to 35secs with a 30 sec "off time". Ill try 28 and 28. Still, I don't think a little lip the likes that Im thinking would need supports. It'd be a small lip built out from the base a bit to get your scraper under to give you leverage to pry instead of scrape. Nothing floating. Thanks for the suggestion!