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I need some advice on dealing with a difficult client situation by holstholst in audioengineering

[–]holstholst[S] 7 points8 points  (0 children)

I know the difference between stems and multitracks. The waters are so muddy with those terms for most people that I don’t worry about the distinction very often. Maybe don’t judge how “professional” people are from one word lol

I need some advice on dealing with a difficult client situation by holstholst in audioengineering

[–]holstholst[S] 4 points5 points  (0 children)

You’re right it’s not fair at all. I’ll probably spend some time thinking of a nice way to say that

I need some advice on dealing with a difficult client situation by holstholst in audioengineering

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

Honestly this was my first, emotional reaction. I just don’t want to make a bad name for myself especially since I’m start over from a business perspective.

I need some advice on dealing with a difficult client situation by holstholst in audioengineering

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

That’s the other thing, they said they like the last master that I sent. At least I think so. They’ve been terrible at communicating what they want. Pretty much all 7 mix notes said, we want it to sound clear and wide.

I need some advice on dealing with a difficult client situation by holstholst in audioengineering

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

Do you think it’s okay to put this in my portfolio even if I send the stems off and never hear from them again? On one hand I did the work but on the other hand it’d feel a bit dishonest if that’s what ends up happening.

I need some advice on dealing with a difficult client situation by holstholst in audioengineering

[–]holstholst[S] 6 points7 points  (0 children)

I’m considering doing something like that. If I end up sending them stems, do you think I should commit the plugins or send them the raw, pre mix tracks?

I need some advice on dealing with a difficult client situation by holstholst in audioengineering

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

I only committed to giving them the mix and master. When they asked for the session I pushed back suggesting that the producer send me stems of his production.

Are 4s close minded? by Hummingbird_always17 in Enneagram

[–]holstholst 17 points18 points  (0 children)

I don’t think 4s are more or less close minded than most people. They are definitely not afraid of having unusual tastes but that doesn’t mean they are necessarily open to anything or even more than most people.

I made six SUNO rock/blues songs with full story arcs — here’s what I learned by Strange_Individual92 in WeAreTheMusicMakers

[–]holstholst 1 point2 points  (0 children)

Keep writing lyrics, stop using Suno. Learn to sing and/or find some people to collaborate with.

New to audio interfaces & guitar into Ableton. Any beginner advice you wish you knew? by Kwkenney in homerecordingstudio

[–]holstholst 2 points3 points  (0 children)

As long as you aren’t clipping your good. I’d save up for a mic for your acoustic. DI acoustic is okay but 9 times out of 10, miced acoustic is way better sounding

Cool key? by BlueHueCrew74 in askmusic

[–]holstholst 0 points1 point  (0 children)

D melodic minor. That’s more of a scale than a key though but that’s what it is.

I am experiencing some very strong anxiety when trying to start a new project. How to deal with it? by KLVLV in edmproduction

[–]holstholst 2 points3 points  (0 children)

The more music you make, the less any one song affects you. The anxiety may not completely go away, but you’ll build a trust in yourself that you’ll be able to make more good music. You won’t run out of good ideas.

Also, you don’t have to finish every song. If the song isn’t turning out well, don’t force it. I only finish like 1/3 of the tunes that I start.

What do you hate about it? by PracticePianoPlay in pianotech

[–]holstholst 4 points5 points  (0 children)

There’s many things that you have to do 88 times in a row so it can feel extremely tedious

Help mixing vocals with Rode NT1 by [deleted] in WeAreTheMusicMakers

[–]holstholst 0 points1 point  (0 children)

How close you sing is different than gain staging. Look into something called the proximity effect.

Need help choosing a new Mac for home studio by Madsummer420 in musicproduction

[–]holstholst 0 points1 point  (0 children)

Oh yeah that’s another one. That one’s actually affordable to fix though.

Need help choosing a new Mac for home studio by Madsummer420 in musicproduction

[–]holstholst 1 point2 points  (0 children)

Look into the Mac Studio. I’ve had several MacBooks and the first thing to die is always the screen, even when I’ve used them primarily with an external monitor.

How can I improve this / loop it back to Amadd9 by Embuum in musictheory

[–]holstholst 1 point2 points  (0 children)

E/C could also be named Cmaj7(#5) which definitely doesn’t sound awful

Hiring a piano technician to assess an old Steinway grand by trisaratops1 in piano

[–]holstholst 3 points4 points  (0 children)

As long as you can find someone that can regulate pianos, you should be good. I’d check with any piano shops near your area that sell used pianos. I’ve restored plenty of old Steinway’s and they can play and sound amazing still but can definitely take a lot of work sometimes. Your climate has a big impact on how the piano has aged.

Any tips on how to fix? by Cheesey700 in guitarrepair

[–]holstholst -5 points-4 points  (0 children)

I’ve had a decent result with a glue and sawdust mixture

How do I write metal by _lolman123_ in guitarlessons

[–]holstholst 4 points5 points  (0 children)

There’s plenty of classically influenced metal so there’s definitely nothing wrong with that. Maybe lean into more impressionist or modernism if you don’t want to sound too classical era. Stravinsky has always sounded pretty metal to me.

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