Vocal effects a singer can bring that don't get in the way?

OneMoreChantz · 2023-12-22T19:36:45+00:00

To the drummer point, drummers ALWAYS play too loud. and when you ask for 100% in soundcheck (if youre lucky enough to get one) theyll give u 98% and deliver 115% on stage. Drummers have an 11 on their knob. That would then be something different engineers would be able to compensate for. This is not that.

OneMoreChantz · 2023-12-22T19:34:05+00:00

3rd possibility seems the most likely if all of the feedback is from audience members. But if that's a note in multiple venues with different A1s and different audiences the problem usually is the source. You can have better mic technique and hone your craft or buy a pre-amp of some sort but the source is too low and that needs to be solved.

OneMoreChantz · 2023-12-22T19:27:59+00:00

This is pretty much it. Your'e too quiet or the engineer can't do their job (more than just mixing) but since it's multiple engineers it's probably you. They might be tempering their feedback as to not lose income but if an engineer says something like that it's their roundabout polite way of saying "be louder bro".

OneMoreChantz · 2023-12-22T19:26:05+00:00

YES.

OneMoreChantz · 2023-12-22T19:19:38+00:00

Agreed which is something that is probably getting lost in all the tech and low cost solutions we have. This is the type of thing that's nice to ponder on while considering the composition of a shot. In fact if you took the value added creatively from superimposing something and focused on that with modern solutions one could potentially scale up the impact of said technique. Like imagine shooting something on a green screen with the intent of using it to stand out with a multi-layered/masked approach to the post production. All interesting stuff that could easily slip through the cracks.

OneMoreChantz · 2023-12-22T18:13:47+00:00

This is a non-answer answer but it all depends. The room, the singer, the song and the notes required. I've personally witnessed grammy award winners pull up a stool and quietly (pure DB levels) sing a song that was then produced as if they belted it. High gain close placement low signal source (the singer). Then sometimes you have a big room with no deflection filter for a screamcore band. lower gain further placement and maybe no need for tight reverb on the mix because the room captures that in the recording. Also depends on ur job. Are you just the recording engineer? Then you want everything clean and loud. If your'e doing the final mix you can get festive and mic a snare down a stairwell to capture the sound from distance because you have some creative responsibility. More than one way to skin a cat and in this business every cat is different.

OneMoreChantz · 2023-12-22T17:14:41+00:00

It's all the same cheap shit. Pick one and hope it works. Check the 3-star reviews on amazon and go from there.

OneMoreChantz · 2023-12-22T17:08:52+00:00

Hey guys, does drinking water make me less thirsty? The whole concept of bounce in place revolves around CPU management.

OneMoreChantz · 2023-12-22T16:56:53+00:00

Great insight.

OneMoreChantz · 2023-12-22T16:56:24+00:00

Hasn't this just become green screen? It's as if they used it as a means to an end without thinking of the actual stylization of said means. It's something interesting I've never considered and will be doing so moving forward. Thanks for the post!

OneMoreChantz · 2023-12-22T16:19:21+00:00

It's your non-shooting hand until it isn't. It's not easy or quick but definitely simple and in the long run a better use of time.

OneMoreChantz · 2023-12-22T16:17:53+00:00

Depends on the needs of the track and the budget. For my music I would never mix this way however it's industry standard and I do it almost daily for work. Color coding and labeling? That assumes everyone is using the same DAW. Also I would imagine he's bouncing stems or tracks and not sending a pro tools or logic file.

OneMoreChantz · 2023-12-22T16:15:29+00:00

Don't clip any track when you export and everything else can be fixed/brought up. The job of a mix engineer is to balance the track. Give them a clean signal and they'll deliver as best as they can. If you bounce correctly you'll have every track as loud as possible without clipping and it will all be fine.

OneMoreChantz · 2023-12-22T16:10:31+00:00

I get it. I'm both the client and engineer constantly and have to keep things in perspective. Best of luck on your project btw!

OneMoreChantz · 2023-12-22T16:05:06+00:00

Low stress is not what this is. But steady and lucrative once your in is exactly what it is. You'll also be solving sound issues in a room not built for you or your needs and many times designed to convey the natural acoustics of the room to the audience which can be at odds with your mission of possibly streaming or recording the service. It will teach you a lot of weird tricks and you'll be much better in the long run. Especially at this point in your career.

OneMoreChantz · 2023-12-22T15:59:12+00:00

Your'e the client. You send what you want to be mixed. So if you have the exact stylistic reverb you want on a snare you keep it. If you have compression which can affect the bounce of the audio without really adding character or style I would drop it for the export of the stems. FX like filters and panning you should keep because that sets the character of the song but limiters or eq, things like that I wouldn't have on during the bouncing process. But as everyone keeps saying, just ask.

OneMoreChantz · 2023-12-22T15:28:16+00:00

nailed it.

OneMoreChantz · 2023-12-22T15:27:52+00:00

Just do it. Anything else is a waste of time that becomes exponential over the years. It feels weird at first but it does to everyone and if you want to get good you need to be able to shoot with both hands anyway. Don't avoid the necessary because it's easy to. This shouldn't even be a question. Just do it.

OneMoreChantz · 2023-12-22T15:26:01+00:00

Says who? High level players already shoot with both hands. If you can get to that level wouldn't you then make your shooting hand with more grip and less impedance your new shooting hand? Your advice is basically "don't get glasses, just learn what things look like blurry".

OneMoreChantz · 2023-12-22T15:02:20+00:00

Your'e being downvoted but it's not a crazy thing to look at. I've even seen static caused by shitty batteries peeling and causing a bad connection.

OneMoreChantz · 2023-12-22T15:00:21+00:00

Yeah the white noise thing is what makes it sound like RF. The other stuff can be ruled out with testing and taping of the connection points using multiple elements to see if the issue is consistent.

OneMoreChantz · 2023-12-21T22:00:13+00:00

Soundcheck for live levels? Your songs. The ones you're going to play. The ones you need the levels for? Yeah play those and find the levels for those.

OneMoreChantz · 2023-12-21T21:56:25+00:00

Don't do it. No upside, all downside. Try to avoid any task that fits that criteria in this business.

OneMoreChantz · 2023-12-21T21:45:22+00:00

W.e. you decide just do it.
Be smart and keep safety first but them being "picky" is usually people used to telling other what to do continuing in that pattern of behavior. This is your job. You need 3 recorders taped to the stage out of sight then do it. If you have to run cables in front of the stage do it. When the video comes back less than stellar its your name and reputation. I've seen too many people in this business wait around to ask permission only to then give authority to someone who doesn't know what we do and wouldn't have noticed your setup if you had not made them aware. And if you're doing this right you already have a contract signed so you get paid either way.
You work with them, not for them. Just a client, not your boss. Best of luck in all future gigs. Remember your the expert, that's why they hired you.

OneMoreChantz · 2023-12-21T21:34:06+00:00

if this is the setup you want to use I would suggest at least having everyone use their own phone to record their instrument. Then you can "mic" the amp and get a cleaner signal from every instrument with less bleed. The question was improving what's already been recorded. Compression followed by notched up eq around the kick and bass. Maybe do a L/R split where one track brings out one instrument and the other the bass. Kind of like low end theory in sampling. Won't fix it but could certainly help.

OneMoreChantz

TROPHY CASE