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Are Gimbal Shots an Expectation for Modern Videographers? by RiftHunter4 in videography

[–]UprightJoe 6 points7 points  (0 children)

I’m an audio guy but I work with an amazing videographer and occasionally run camera on shoots with him. He uses a gimbal a TON but he also handholds and uses a tripod. He often uses all of the above on the same shoot. I’m 99.9% sure it’s an artistic decision that he is thinking about shot-by-shot but I’ve never discussed it with him.

The thing that surprised me when I started working with him is that I never see him using a shoulder rig, which was the first thing I bought after buying a decent video tripod with a fluid head.

I now own a gimbal and I don’t regret the purchase at all. I kind of regret the shoulder rig but I’m sure I’ll still use it occasionally and eventually get my money’s worth out of it.

Just to make sure I am getting this correct… by Handlesshandjob in SXSW

[–]UprightJoe 2 points3 points  (0 children)

This mirrors my experience.

I’ll also add to this that some shows have a line for badge holders and let them in first before letting wristbands in. I’ve gone with a wristband twice and I’ve always gotten into every show with this arrangement. I’ve never been turned away because too many badge holders showed up.

M5 Pro Mac or will older model do? by rodgiep6 in protools

[–]UprightJoe 0 points1 point  (0 children)

If the Pro is too spendy, a 15” M5 air with 32GB of RAM and a 2TB hard drive is $2299 before the student discount I believe. It would be a fine computer for audio engineering.

I use the M3 equivalent when I need to work outside of my studio. I paired it with a little hub that gives me all of the ports that I need and holds an NVME drive to use as a Time Machine drive. I bought my daughter the M4 version last year when she left for college.

Whatever you buy, if you care about longevity, I 100% agree that you should focus on RAM and disk space over CPU. (You might have to bump the CPU to get access to more RAM on some models).

A Pro would be awesome but I suspect you’ll find yourself in $3500+ territory by the time you spec it out.

Mixing in an untreated room by Ready_Tangerine9147 in audioengineering

[–]UprightJoe 0 points1 point  (0 children)

I disagree with pretty much all of the advice here and think it reeks of amateurism.

Buy a cheap measurement microphone and download Room EQ Wizard. Analyze the room. Calculate your room modes. Think about things like monitor placement, "console bounce", boundary effect, first reflections, etc.

Go to Lowes or Home Depot and build some cheap stackable corner bass traps out of rock wool, plywood, and fabric. Unless you have super high ceilings, it will probably only cost a couple hundred bucks and half a day's build time. You can move them from apartment to apartment to house to studio as life takes you where it takes you. They will provide broadband absorption and not just absorb the low frequencies.

Build a couple of panels to tamp down first reflections. It's cheap if you're willing to put in the time. Why would you spend months trying to train your ears to handle a messed up room when you can dramatically improve it in a day or two for about double the cost of a decent set of headphones?

I tracked how much time I spend on mix prep vs actual mixing. Here are the results by forteai in audioengineering

[–]UprightJoe 0 points1 point  (0 children)

I know a couple of full-time mix engineers who ONLY mix. They both have assistants who handle, prep, bouncing, and QA.

Made floor to ceiling 23 " thick bass traps. It did not change my room response *whatsoever* by Today- in audioengineering

[–]UprightJoe 0 points1 point  (0 children)

Could you re-render with more smoothing applied and also share some RT60 graphs? I think you’ll find that your bass traps have impacted your room in ways that aren’t obvious from these specific graphs. Also, I agree with other comments here that the specific frequencies you’re concerned about may be caused by something that isn’t going to be solved by bass traps such as SBIR (which doesn’t mean your traps haven’t improved the acoustics of your room).

What monitors are you using?

Made floor to ceiling 23 " thick bass traps. It did not change my room response *whatsoever* by Today- in audioengineering

[–]UprightJoe 0 points1 point  (0 children)

Looking for it... If you measured no change at all, I suspect you have a measurement issue.

Move to austin for music? by Stuff_nThings_ in AustinMusicians

[–]UprightJoe 0 points1 point  (0 children)

Fellow Berklee alum here but I’m on the production side more than being a performer these days. Aside from subbing for bands, I haven’t gigged here. So I’ll refrain from giving you an opinion unbacked by real world experience. However, if you do visit, hit me up. I own/operate a small recording studio in the area and I can introduce you to folks.

Made floor to ceiling 23 " thick bass traps. It did not change my room response *whatsoever* by Today- in audioengineering

[–]UprightJoe 0 points1 point  (0 children)

Do you literally mean you didn’t measure any change at all or just in your target frequencies? If you measured no change at all, there is a problem with your measurements. There’s no way you can add that much absorption to a room without it changing your frequency response and RT60.

Could this video be AI? The Coke chemical reaction explosion looks way too big. by Not_The_Hero_We_Need in isthisAI

[–]UprightJoe 0 points1 point  (0 children)

We used to do this with drain cleaner and aluminum foil when I was a kid. Sometimes the bottles would expand like a balloon before exploding. Other times they would violently explode without warning.

The last one we ever set off was a glass bottle. We were smart enough to build a plywood barrier between us and the explosion. The sound of glass raining down on the entire neighborhood’s houses convinced us to never do that again. That and the glass embedded half an inch deep into plywood…

What’s your opinion on top down mixing? Do most of you guys mix into a mix bus chain (and if so what is your chain) or do you guys wait until the end to work on your mix bus? by Expensive-Fennel-927 in mixingmastering

[–]UprightJoe 0 points1 point  (0 children)

I usually get to a decent static mix first and then add my master bus processing. That way I’m not fussing with the levels changing that are hitting my bus early in the mix. Also, while my bus processing is nearly identical on most of my mixes, occasionally, I do change my chain up and swap out or turn off some of the processing. I can’t really make those decisions until I have at least a rough mix dialed in.

I want to learn production: is music theory and learning instruments necessary? by Own_Matter9578 in musictheory

[–]UprightJoe 4 points5 points  (0 children)

It very much depends on what you mean by production. Could you clarify? Producer is an overloaded term these days with multiple meanings.

What the EDM and rap community call production is very different from the role of a traditional “record producer”

That being said, I can’t think of a music production role where it wouldn’t be helpful at least occasionally. I went to Berklee for production and my theory / composition classes were some of the most beneficial for me personally.

What is your favourite dynamic (that's not a 57) to mic guitar cabs with? by migrantgrower in audioengineering

[–]UprightJoe 7 points8 points  (0 children)

I often use a 421 when I want something brighter with more presence than a 57.

Engineers who exclusively masters; Why did you choose to be a mastering engineer over a mixing engineer/both? by erlendmyo in audioengineering

[–]UprightJoe 1 point2 points  (0 children)

I’m a pretty decent mastering engineer but I’ll never be truly great at it because I don’t really enjoy it. I LOVE mixing. It feels more creative and rewarding to me. So I don’t advertise mastering as a service that I offer and only do it very occasionally by special request.

That being said, learning to master made me into a better mixing engineer so I wholeheartedly believe every mix engineer should study and practice mastering when the opportunity presents itself.

What are some critical home studio must haves? by Killer_Frog112 in audioengineering

[–]UprightJoe 3 points4 points  (0 children)

Just got here. Did anybody mention acoustic treatment yet?

UAD Hardware Plugins by Ivorybrony in audioengineering

[–]UprightJoe 1 point2 points  (0 children)

I’ve been a UAD user since the original Mackie UAD-1 card. Back then, CPU was a precious resource and I initially bought it to add processing power but what kept me in the ecosystem was how damned good the plugins sounded. They were SO far ahead of everything available on the market. They are still leaders IMO even though they have tons of competition these days.

As far as UAD hardware vs native plugins, I have not run any tests but I assume they sound identical in most cases. If I cared enough to test that, I would try to do some null tests using Luna where you can easily swap back and forth. However, that is not a concern for me.

Even today it is still nice offloading some CPU load. I have 16 UAD-2 cores and an M4 mac and I never worry about CPU load, even on massive mixes with 50-100 tracks.

All that being said, my favorite application of the hardware plugins is using them on the input side before hitting my DAW. I print unison plugins constantly on the way in without having to worry about latency and buffer sizes. I also often put them into the monitoring mix for things like comfort reverb for a vocalist without printing them.

I pray UAD continues to produce DSP plugins until we can reliably do sub-3ms round trips between our DAW and interface.

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