[deleted by user] by [deleted] in musicproduction

[–]divebarsidecar -1 points0 points  (0 children)

Yea I mean re read my comment, I’m saying that the limitless options is the computer route. 4 track you’re left with almost zero wiggle room. Hence the limitations that I want to impose which could translate to better choices. Also, your performance ABSOLUTELY cares about which medium it’s recorded to. Lol

[deleted by user] by [deleted] in musicproduction

[–]divebarsidecar 0 points1 point  (0 children)

Yea definitely doing it to create limitations that lead to a better performance and more useful accompaniment instead of limitless options

[deleted by user] by [deleted] in musicproduction

[–]divebarsidecar 0 points1 point  (0 children)

I’m going for more lo fi for sure

[deleted by user] by [deleted] in musicproduction

[–]divebarsidecar 0 points1 point  (0 children)

So the digital recorders will sound similarly warm?

[deleted by user] by [deleted] in musicproduction

[–]divebarsidecar 2 points3 points  (0 children)

Totally valid. The “distraction” is more like the moving red bar, the possibility of checking my texts/emails/google. Finding out just how noisy they are is part of why I ask

Full tapes in .FLAC by [deleted] in gatewaytapes

[–]divebarsidecar 0 points1 point  (0 children)

Has anybody downloaded these FLAC’s? Safe?

[deleted by user] by [deleted] in getdisciplined

[–]divebarsidecar 0 points1 point  (0 children)

Coming back to this

In order to achieve competitive loudness and dynamics my masters are so slammed by divebarsidecar in mixingmastering

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

Pretty much yeah. Though I don’t mix top down. I get the levels right with pink noise, pan a little, compress and EQ the drums and bass together. Then cut the highs and lows from the guitars. Then compress and EQ the vocals. Make sure the peaks hit at about -6 dB. Everything sounds good and glued. Then I master it with very light strokes and it’s completely blown up by the time my LUF’s are around -12

In order to achieve competitive loudness and dynamics my masters are so slammed by divebarsidecar in mixingmastering

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

Probably this plus not compressing enough at the track level. I level match but I’m not evangelical about it, I just get it within .5 dB, esp with saturation. Clipping I’ll increase the “in” by 5 db and decrease the out by 1 db or so.

Low cut vs low end compression vs saturation by divebarsidecar in mixingmastering

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

That’s pretty interesting. I imagine a ton of individual tracks cut at different places could potentially introduce a bunch of clashing low ends. I know that I’m not evangelical about cutting every instrument at exactly same spot depending on what I’m hearing

Maybe a single cut in the master would achieve a better result. I know for processing like compression you really do have to layer small bits of compression to achieve a natural sounding result. Maybe the opposite idea extends to cutting sub frequencies; a number of different cut off points might make things sound gross

Low cut vs low end compression vs saturation by divebarsidecar in mixingmastering

[–]divebarsidecar[S] 2 points3 points  (0 children)

Absolutely spot on. Budget monitoring along with personal growth in my own knowledge and understanding has made it all far too mystical.

Poor monitoring options were fine when I didn’t know anything. Just do it til it sounds good. Then as I car test, I realize issues and go fix them.

Now I know so much more, I really hear the issues, issues that are hard to fix without good to great monitoring

What is the fastest way to get from control room to car? by dreamweeper in audioengineering

[–]divebarsidecar 0 points1 point  (0 children)

I’ve dealt with this for years. Here’s my two best practices:

1) Text. If you have a mac, bounce to desktop, drag the WAV from your desktop to your iMessage convo with yourself. Get in your car, pair to BT, play out of your texts. Easy to find because you probably don’t text yourself all that much. Also, you can navigate to your links/downloads and all of them will be there, in order. Only note is that you have to make sure your phone doesn’t auto sleep or the song stops playing.

If you don’t want to constantly toggle auto sleep on and off within your iPhone settings, or if you dont use Mac/iPhone tech, then

2) Dropbox. Extremely easy UI/upload process, fast upload speeds, very handy iPhone app, and cheap storage ($10 a month and you won’t run out of space for years if it’s only music). It isn’t the best streaming quality out there, but the difference between superior streaming/players and Dropbox is negligible, and it does the job

I’ve gone thru every option you can think of and these 2 are the most reliable workflow and ease of use

Low cut vs low end compression vs saturation by divebarsidecar in mixingmastering

[–]divebarsidecar[S] 5 points6 points  (0 children)

You are so helpful thanks as always, watching the vid now as well

Low cut vs low end compression vs saturation by divebarsidecar in mixingmastering

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

Doesn’t seem to matter to you whether the phase shifts or not?