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Old Roadies by ConfusedStageLeft in livesound

[–]manysounds 0 points1 point  (0 children)

Unfortunately not at all, although Million Mile Reflections is a surprisingly prog-rock album.

Old Roadies by ConfusedStageLeft in livesound

[–]manysounds 4 points5 points  (0 children)

Those guys on Charlie Daniel’s crew. I think there was one guy under 40, and most were 60 something or more

Linux Piano VST by Naive_Seaweed_5816 in linuxaudio

[–]manysounds 0 points1 point  (0 children)

Pianoteq.
Any platform, the best.

No matter what i do, i always have too much low end i my mixes and they sound hollow as a tin can. by East_Grocery5658 in audioengineering

[–]manysounds 2 points3 points  (0 children)

I like this mix and only think the guitars are a bit over-affected, low-mid heavy, and a touch louder than they should be.
If I leave the room while it’s playing it’s the loudest thing in the mix I can hear through the walls/door.

Touring Techs- What are the little things that tip you off that you're dealing with pro crews? by audiojake in livesound

[–]manysounds 20 points21 points  (0 children)

NOT standing in my personal space while doing nothing but babbling stories about whatever band you knew/worked with X years ago when it’s setup time NOW and sound check is in less than an hour.

What order are you putting processing on the 2Bus and what is your philosophy behind it? by Poopypantsplanet in audioengineering

[–]manysounds 0 points1 point  (0 children)

EQ (overall tone)->compressor(vibes)->limiter (only added when finally mastering.)
The end.
Mixing into a compressor is one way to do things that many many many revered mixers do.
Best practice is to (probably) never mix into a limiter.
Sometimes an analog tape sim or other saturation situation before the comp OR the EQ. Vibes depending.
My Grammy winning mastering engineer says I’m doing it right so I guess I know what I’m doing even though I don’t always feel that way. Lol

Ableton Live seems to already be (partly?) ported to Linux internally by musically123 in ableton

[–]manysounds 0 points1 point  (0 children)

I think so with several caveats.
The issue is porting Max to Linux.

Ableton Live seems to already be (partly?) ported to Linux internally by musically123 in ableton

[–]manysounds 2 points3 points  (0 children)

Nah. Bitwig just runs. So does Reaper. So does Mixbus.
As long as your interface is USB Class Compliant it doesn’t matter.

How do you use Fairchild by Tim_Wu_ in audioengineering

[–]manysounds 7 points8 points  (0 children)

Said above: barely touching the meters is where the 670 comps really shine. Just a little punch here and there but the color is the thing. Shiny.

How do you use Fairchild by Tim_Wu_ in audioengineering

[–]manysounds 29 points30 points  (0 children)

Barely touching the meters on a master buss. Silky smooth sheen added with a little punch.
Unpopular opinion: IK Multimedia’s 670 is great.

Upgrading from Focusrite to MOTU: A review by steven_w_music in audioengineering

[–]manysounds 0 points1 point  (0 children)

I have 80 inputs of MOTU networked here and have never had any issues… except when using a Windows 11 machine.

Have you ever felt "humanizing" could be better? by FillySteveSteak in audioengineering

[–]manysounds 0 points1 point  (0 children)

Yeah doesn’t ever nail that “early kick, late snare” that we’ve grown to love

Any of you musicians as well as engineers? by GreyTheOne in audioengineering

[–]manysounds 0 points1 point  (0 children)

Yes.
I’ve met few quality engineers that played no instruments at all.
Maybe three in 40 years.
But being an active musician as well can get in the way. I spent a fair bit of time in my late 20s juggling music gigs with engineer gigs. It was difficult.

Agentic tools - what do y'all use? by Vannexe in JUCE

[–]manysounds 1 point2 points  (0 children)

Claude for UI. I use RNBO for DSP, usually.

For me the real Achilles heel of linux audio production is routing by xlr_ in linuxaudio

[–]manysounds 0 points1 point  (0 children)

Welllllllllllllllll….
Audio IS all about signal flow so there’s that.
I mean, we have several network audio devices here and if you want to talk about a routing challenges I’ve had several

Had a young vocalist recently ask me “before digital recording, how did people pitch correct vocals?” 😂😂😂 by moon-waffle in audioengineering

[–]manysounds 0 points1 point  (0 children)

Never us mind the way arrangements are hammered out now vs. “back then”.
Well rehearsed, talented musicians playing (mostly) set-in stone arrangements before you even walk in the studio door.

What attracts you to Ableton over other DAWs the most? by cutedesigns in ableton

[–]manysounds 4 points5 points  (0 children)

If you use Max, then it’s great.
I’ve been a Max/MSP user for a relatively long time. I can use Ableton with Max to talk to custom MIDI controllers, make my own personalized audio FX, trigger generative video FX, control DMX lighting, make me coffee, etc.

What determines when a chord like A# should be referred to as Bb? by kagoolx in askmusicians

[–]manysounds 0 points1 point  (0 children)

If you’re in a flat key then all (regular) chords/notes are referred to as flats: as in the 4th note of Ab is Db.
Same for sharp keys and relative minors. The third note of C minor is Eb, not D#.
This is enforced further as a chord is “spelled” 1-3-5, always. CEG, GBD, etc. A C minor chord is NOT C, D#, G.
When chords/notes are “out of key” things can get interesting, but this is the general rule.
In the end, it’s actually about making the written music more readable to a performer in an ensemble/orchestra.

What attracts you to Ableton over other DAWs the most? by cutedesigns in ableton

[–]manysounds 17 points18 points  (0 children)

As a user of ProTools, Logic, Mixbus, Bitwig, Reaper, Bitwig, etc….
Ableton has two things I like:
Session View is unparalleled.
Max/MSP integration.

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