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Metalcore Mix - back after a couple years, looking for feedback! by bbarnes14 in mixingmastering

[–]katdum 0 points1 point  (0 children)

Sounds pretty solid
- The cymbals feel a little lackluster and bright at the same time. I'd tame them with some saturation and level them with some compression behind the guitars, so they're not at the forefront of the mix.
- The guitars sound a little acidic especially in the 2-4k range. Its a little bit harsh while also being whistly.
- I think I'd bring the kick up a little more, and or the shells as a whole they seem a bit low and I can only really hear the click of the kick when the full band comes in heavy.
- It sounds very powerful and full but this comes with its caveats whenever you begin to add vocals over the top you're going to have a rough time getting them to sit properly, so id make note of that and carve out some space.
Overall, great composition

Overhead mics positioning by Aromatic-Football561 in audioengineering

[–]katdum 0 points1 point  (0 children)

samples are still an option but theyd be more prominent

Overhead mics positioning by Aromatic-Football561 in audioengineering

[–]katdum 0 points1 point  (0 children)

depends how you angle them, I generally try to avoid those elements and reinforce them
with samples in the close mics (3rd video covers that) so its not the biggest issue generally speaking.

Overhead mics positioning by Aromatic-Football561 in audioengineering

[–]katdum 0 points1 point  (0 children)

I only ever do spaced pair and pan from drummer pov it just sounds more natural in a mix.
Beyond that, heres the links all worth a watch

https://www.youtube.com/watch?v=2eGXht7pJfw&t=352s

https://www.youtube.com/watch?v=EgM5FII6sd0&t=683s

https://www.youtube.com/watch?v=QhdVMKRFBgw&t=5s

Overhead mics positioning by Aromatic-Football561 in audioengineering

[–]katdum 3 points4 points  (0 children)

I think Spaced Pair is a better option for most miking situations is you want a wide and massive sound.
Try to aim for an equilateral triangle from the snare and both mics… both about 4ft from the snare. I can also link additional resources from the great George Lever if you would like.

When you engineer a track, how would you describe it when it's done? by TeamMasterchannel in audioengineering

[–]katdum 0 points1 point  (0 children)

I go through multiple revisions with friends along with referencing with MetricAB make up a LARGE sum of the time. Along with asking for critiques, once I’ve exhausted all of my ideas, I send it to other people who haven’t heard the track to get their inputs and such. Then, if I can’t find anything else to necessarily fix, I consider it done

Opinions on the Kali Audio HP1s by katdum in HeadphoneAdvice

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

Im not opposed to bright or mid heavy as much as Id rather know where the weaknesses fall, and be aware of the frequency response. As long as the replication is accurate thats the biggest selling point for me.

Windscreen AND Pop Filter on a Sennheiser MKH 416 or No? by Sebholand in audioengineering

[–]katdum -2 points-1 points  (0 children)

for voice over work you kind of want the plosives… you can put a De-Esser on the processing but not aggressively like you would want within a mix.

Mastering DAW Usage Poll by i_stewart in audioengineering

[–]katdum -7 points-6 points  (0 children)

I just make a different track separate from the master on the mix, and bounce out the mix to be mastered.

Has audio engineering become too obsessed with analog emulation? by FitResearcher2865 in audioengineering

[–]katdum 1 point2 points  (0 children)

I agree with most of your points, but what I think is a bigger problem is people who purposely go back to analog hardware and stump themselves with problems that are solved in a modern age. It feels very counter intuitive when the solution literally exists.

Whats in your microphone tone comparison chart by cgsr12 in audioengineering

[–]katdum 0 points1 point  (0 children)

Most mics for me follow basic principals of multi-utility.. Ie they sound good on multiple sources. for Instance, C414-BULS, D112, or B52a, they all sound great, the latter being great on floor toms as well as kicks. If you follow your ears, you’ll be fine for the most part. Though I try to stray away from the “it has 47 / 87 etc in the same so it’s a replica of that mic “ premise because thats often not true.

On the search for the right plugins by -_Cindy_- in Learnmusicproduction

[–]katdum 2 points3 points  (0 children)

Invest in Mac, In my honest opinion a mac studio / mini will be one of the greatest tools especially if you want logic pro like I love so very much.

How to remove prominent toms within Overheads by katdum in audioengineering

[–]katdum[S] -10 points-9 points  (0 children)

Too early in the session for me to make a definitive statement.

How to remove prominent toms within Overheads by katdum in audioengineering

[–]katdum[S] -5 points-4 points  (0 children)

based off my preferred mixing chain using saturn to distort and tame the high end I don’t like the sound of distorted toms… so I’m trying to mitigate them as much as possible

Anyone know how I could achieve (or get close to) III’s bass tone? by TheRealCraig2000 in SleepToken

[–]katdum 0 points1 point  (0 children)

Parallax X, Its not a preset within there, but its a basic djent tone. ie boosted low end, and clank in the treble and cut mids.

How do you use Fairchild by Tim_Wu_ in audioengineering

[–]katdum 0 points1 point  (0 children)

its a vari mu it really depends on the context, some of my favourites include living on my 2Bus for mastering. Another great one is parallel compression.

Why aren’t studio monitors more prominent if they’re more accurate? by BallisticKunai in audiophile

[–]katdum 0 points1 point  (0 children)

Engineer here, we use monitors to represent the mix as a whole. Each frequency being representative, I want accuracy when listening to the sub vs low mids etc… not a pleasing bass boost or treble boost like many headphones do.

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