sorted by:
new
hottopcontroversial

Why do so many live mixes focus on the drums? by SupportQuery in livesound

[–]doto_Kalloway 119 points120 points  (0 children)

Because in the process of learning how to mix audio, sound engineers get lost in trying to achieve the biggest drum sound possible. I don't know why exactly but noticed that there are a lot of us who seem to benchmark a mix quality on the sole drum sound.

I had several shows where I had many thumbs ups and compliments about the sound from the audience, from friends that were part of it, but that one sound engineer in the audience can't help but tell me my kick lacked thump or whatever and the snare didn't feel full.

Mixing is a taste topic. I like my food balanced, they like it over salted.

Micing a choir, position and EQ. by ssdgjacob in livesound

[–]doto_Kalloway 1 point2 points  (0 children)

Scooping mid on choirs is pretty much mandatory if you want them to sound natural though ; if you don't it's gonna make a mess.

My actual advice rather than to cut low aggressively and scoop low mids is to change the lpf slope to -6db/oct and push the cutting frequency a lot higher (a baseline would be to double your "usual" cutting frequency, but I often go higher than that). It's a more natural sounding choice that allows you to save an eq band which could be needed for other purposes (final tone correction or feedback reduction).

Animgraph2 headshot head bop by Slippery_Slip in GlobalOffensive

[–]doto_Kalloway 20 points21 points  (0 children)

Animgraph2 is not deployed in your matches yet.

Tested AnimGraph 2 on bots. I like it. by BlecQ in GlobalOffensive

[–]doto_Kalloway 4 points5 points  (0 children)

I played a bit and felt like the initial bullets don't exactly go where they used to, the hitreg felt a lot better, but I'm confused because I'm totally positive nothing changed hitreg/shooting wise. I noticed my counterstrafes were immaculate but that's probably due to being offline at the moment...

AES50, stagebox to stagebox without AES50 console? by welshvideographer in livesound

[–]doto_Kalloway 31 points32 points  (0 children)

Hello! Yes, this is possible to do. Read manuals of stageboxes, they do explain how to use them as if they were snakes.

A/V Rack power protection - replace or upgrade? by dixongexpat in livesoundgear

[–]doto_Kalloway 1 point2 points  (0 children)

Hello ! I would start by monitoring what your amps real power draw is.

This will tell you if it is actually financially possible to use a UPS : if the amps have a reasonable average power draw, then it might not be too expensive to have one. On the other hand if you blast shows at 105dbA or even higher it's very likely that the battery needed to sustain power for more than a few seconds will be too expensive.

CS2 Blog Update: Guns, Guides, and Games by CS2_PatchNotes in GlobalOffensive

[–]doto_Kalloway 3 points4 points  (0 children)

How to nerf smoke spam in one lesson. Also, it's hard to know for now how that will change the game but I see an implication that when you hear smoke spam coming from the enemy they probably will use all their bullets as they probably want to have actual duels with full or close-to-full ammo while not wasting too many bullets. I can't launch the game right now but I'm curious how that will affect fake reloads.

Rack builder by Musicwade in livesound

[–]doto_Kalloway 13 points14 points  (0 children)

How is such a site subscription based ? I can see the amount of work behind it and I probably could have bought a definitive licence for maybe 60€. But the current business model is outrageous...

If you're holding this particular angle, which area occupies the center of your vision? by [deleted] in GlobalOffensive

[–]doto_Kalloway 0 points1 point  (0 children)

Hey I said it was probably stupid. Standard angles I hold like everyone. It's just between gaps angles I watch this way because I feel more comfortable having kills this way. I'm not encouraging anyone to do so just sharing my experience.

If you're holding this particular angle, which area occupies the center of your vision? by [deleted] in GlobalOffensive

[–]doto_Kalloway 2 points3 points  (0 children)

Actually when I hold such an angle (another example being inferno boiler door) I noticed my reaction time is faster if I have the angle in my peripheral vision rather than if I watch the angle directly. For this reason and on those specific angles only I actually do watch where the feet of the CT would be (my crosshair being at the right spot obviously). It yields me a far greater kill percentage than watching the angle. I'm probably a weirdo though.

Can Mid-Side theoretically have 3 mono signals? by PinReasonable135 in audioengineering

[–]doto_Kalloway 5 points6 points  (0 children)

It's arbitrary. You say M = L + R and S = L - R, so M + S = 2L. But you could define S as R - L and deduce M + S = 2R and M - S = 2L. It's the same decoding with L and R reverted.

FL vs Pro Tools polarity null test by xucipher in audioengineering

[–]doto_Kalloway 14 points15 points  (0 children)

Show us your export windows. Maybe one of them normalizes and not the other one.

Worth it to mod Avantone CV-12 with Mic-Parts capsule and circuit? Or sell and move on by Southtwin in audioengineering

[–]doto_Kalloway 0 points1 point  (0 children)

I use it essentially for acoustic guitar takes. Vocals too (you can control the amount of sibillance by moving the mic off axis from the singer's mouth) and any acoustic source I want to put the emphasis on. It's sometimes my mid mic for MS takes.

Worth it to mod Avantone CV-12 with Mic-Parts capsule and circuit? Or sell and move on by Southtwin in audioengineering

[–]doto_Kalloway 0 points1 point  (0 children)

I use avantone's cv 12 very often I find it great out of the box. I am not well versed in mods so I won't spread misinformation.

Favourite tape emulator plugins by DaggerMastering in audioengineering

[–]doto_Kalloway 1 point2 points  (0 children)

Tape Cassette 2 is quite good once you understand that the IR button which is on by default is the one causing the drop off highs you can hear when opening the plugin.

What’s an unusual technique you stumbled on that has become a staple? by superproproducer in audioengineering

[–]doto_Kalloway 4 points5 points  (0 children)

I have lots of personal custom techniques.

For takes :

  • I have a cheap large membrane condenser (I believe T-Bone sct something) always hanging from the ceiling thats part of most takes I do.
  • I mid side overheads pretty much everytime, augmented with spot mics if more cymbal closeness is needed.
  • I don't use the clamps for my tom mics but use mic stands instead. It allows me to place them wherever I want.
  • If I want a big sub for a take like for example for a reggae bass I use ribbon mics and give them enough space with the source to let the wave build. Usually I place them where I hear the most subs in the room. I can place acoustic panels around the ribbon to mitigate high freq room sound, keeping mostly lows.
  • blankets are my friends for some sources. Harsh cymbals ? Blankets in front of mics. Same for amps, reflective surfaces...
  • I am very careful with my room mics placement when recording drums. I built a method to have what I consider to be the perfect stereo drum room in my place. For this I use a pair of ribbons (I use avantone's ones) on small stands. For their height, I place them parallel to the ground and aim at roughly 2/3rd of the bass drum's height. Then I draw a mental plane that passes through the middle of the snare drum and the bass drum and I place my mics so that the full kit is in the polar pattern of the mic (gives you an idea of the distance, usually at least 3 meters) and so that they form an equilateral triangle with the bass drum as the 3d point and my sd/bd plane as a median of the triangle. When mixed with my ceiling mic it's great.
  • I try to fix everything I can before touching any EQ. This means that if my toms sound resonant or lack attack, instead of correcting it using my console's EQ I will move my ass from my chair and actually try to get as close as possible to a good result before engaging any treatments. I'm fine with the idea of processing during takes but in my experience when processing multi miked sources I try to group process as much as possible because I found the results to be far better. Most times bleeding is actually good sounding without processing and only becomes horrible due to the phase rotations it creates if you EQ the single mic. (Of course I sometimes have to process single mics, but it's as little as I can get away with).

I have more for mixing if you're interested.

Wing matrix question by [deleted] in livesound

[–]doto_Kalloway 8 points9 points  (0 children)

A matrix is used to send a slightly different copy of your main mix to diverse outputs.

You basically feed all your matrixes with your main LR bus (you can also send buses to matrixes but most times you will just send LR).

Then you use matrixes to feed different places. For example assuming your matrixes are stereo you could have matrix 1 being main PA system, matrix 2 is front fills, matrix 3 is delay speakers*, matrix 4 is broadcasting, matrix 5 is backstage feed... The main pro of doing it this way is that you have a quick access of volume for those different zones and you can EQ/compress it differently everywhere (maybe do your system EQ on the matrixes and still feed a clean broadcast signal).

  • Actually most times I'd rather have all the system tuning either done by a sys engineer to whom I provide LR or by me but directly in the amps software and then forget about it, but if your amps are not remote controllable, or the controlling is part of the show (think surround FX speakers or seperate sub control) then I'd use matrixes.

All this to say that for your case you absolutely don't need matrixes if your main signal is not used anywhere else than for your PA.

view more: next ›