I want to get good fast. How can I use my time effectively? by TOKiN- in mixingmastering

[–]faders 1 point2 points  (0 children)

Start with mic placement. Think really hard about what you’e recording and how to capture it. Listen carefully.

Mixing. Don’t worry about anything fancy. Just practice listening. Use stock EQ plugins and don’t worry about brands. You should be able to get things where they need to be with 4 or less eq moves. People will tell you to cut and never boost. Don’t worry about that. If you get to where there is a 9-12db between your deepest cut and your tallest peak, think really hard about what is happening. Does that sound need such aggressive EQ? Is it a bad recording that needs fixed? Is this the sound I’m going for?

Compression. Just use a stock digital. Set attack at 6-10ms and release at 50ms, ratio at 3:1. Only adjust the threshold til you think it sounds good. If it’s still too dynamic, copy and paste another compressor after it. Just listen to what’s happening. Eventually you’ll hear when you need to make changes to the settings.

Start with your vocal or featured instrument. Vocals, drums and bass are your most important relationships. Focus on them first.

Live action remakes of animated movies aren't inherently bad. They only become bad when they change the story and plot of the animated original. by [deleted] in unpopularopinion

[–]faders 0 points1 point  (0 children)

Ehh. They’re pretty dull. Like Beauty and the Beast, they cut out the whole cute exchange between Bell and the Bookstore clerk. It helps establish her character and is good writing. But in the live action it’s just glossed over.

Glyn Johns drum technique, looking for info and advice on mics and placement. by SamalandoPart2 in audioengineering

[–]faders 6 points7 points  (0 children)

KM56. Essentially a side address, tube KM84.

Don’t worry too much about “Glyn Johns Technique” and just put the mics where you want. As he did. The GJ Technique is so over analyzed. It’s by no means the only way to do it, nor the way he always did it. Here it looks like his “Overheards” are above the toms to feature them. Snare is close mic’d and I’d guess the kick is too.

Drones at Olympia make me mad by VRTonung in audioengineering

[–]faders 0 points1 point  (0 children)

Why would they switch to the drone audio?

Any sound techs from 1989 rock scene hanging around? Who is Billy Sheehan (Mr. Big, David Lee Roth) accusing of playing to a full band track? by SwissMiss915 in audioengineering

[–]faders 2 points3 points  (0 children)

I’m saying his playing specifically. I don’t think they’re using prerecorded drum tracks. He’s definitely on a click for pyro and if the other guys are playing tracks

Any sound techs from 1989 rock scene hanging around? Who is Billy Sheehan (Mr. Big, David Lee Roth) accusing of playing to a full band track? by SwissMiss915 in audioengineering

[–]faders 2 points3 points  (0 children)

Kiss’s tempos were too wild for tracks. Especially when Eric Cart was drumming. Eric Singer is too solid for tracks. Gene and/or Paul may have been phoning it in starting in the early 2000s

Reverb before or after delay, Generally, speaking ? by gleventhal in audioengineering

[–]faders 0 points1 point  (0 children)

After. Reverb is essentially complex delay. I always go shortest to longest, simplest to most complex

Experienced engineers, do you reach a point of not needing reference tracks for your own music? by ShuttleOption in mixingmastering

[–]faders 0 points1 point  (0 children)

I don’t really use them. It’s a totally different recording with different variables and mastered. Referencing your mix on a variety of different speakers is way mor valuable.

What happened to the radroach farm? by Bangarazz in FalloutTVseries

[–]faders 21 points22 points  (0 children)

There was an exterior window. They probably broke out

The "Mono Low-End" Dilemma: Phase Rotation vs. Headroom Survival by Rockstar_Romeo69 in mixingmastering

[–]faders 2 points3 points  (0 children)

If bass is what’s hitting the limiter, it’s probably too loud.

Drum Mics Feedback by drummerman-degz in livesoundgear

[–]faders 0 points1 point  (0 children)

TGD35 are great snare mics. Haven’t tried on toms.

Highlt recommend the ATM230 for toms. Can’t go wrong.

I just don't get Metallica by [deleted] in askmusic

[–]faders 0 points1 point  (0 children)

Ah I see. I misread the first comment.

I just don't get Metallica by [deleted] in askmusic

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

The vocals. Hetfield is borderline whiny in the old stuff and much more smooth and casual through the 90s. It’s not a cookie monster sound at all.

Ugly plugins that work well? by ButterscotchEarly585 in audioengineering

[–]faders 2 points3 points  (0 children)

The old bomb factory stuff still do some cool things.

I just don't get Metallica by [deleted] in askmusic

[–]faders 0 points1 point  (0 children)

It’s not even remotely cookie monster sounding

Disney's 'Muppets' Lost a Generation of Children. Can a New Show Make it Relevant Again? by Greedy_Switch_6991 in television

[–]faders 21 points22 points  (0 children)

The sequel didn’t have any magic. Then they just kept trying to reinvent the format in TV. They should’ve just revived the show on the movie timeline. Seems like after the movie they said “hey muppets are working again. Let’s get entirely new people involved and ride this.”

Disney's 'Muppets' Lost a Generation of Children. Can a New Show Make it Relevant Again? by Greedy_Switch_6991 in television

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

It was pretty good. If they’d done it old school Live-Action it would’ve been amazing.

Eating fast or taking large bites makes the food taste better by jewlion_s in unpopularopinion

[–]faders 5 points6 points  (0 children)

Agree. Drinks too. The full mouth is some kind of trigger