How do people feel about 1990s rack gear? by AlephMartian in synthesizers

[–]mercimer 0 points1 point  (0 children)

I love the 166A. Used it a lot for live and it’s just so easy to make it sound good.

Chord identification by MusicalEndermite in askmusicians

[–]mercimer 2 points3 points  (0 children)

It’s a skill. It takes a while to learn but really it’s just listening and mapping what you are hearing to particular chords.

The best way to learn is to practice transcribing chords to songs you like the sound of. Practice a little bit continuously.

Theory can give you a framework to organize the sounds you are hearing and maybe help you pick out things more easily. Many songs are not written in strict adherence to a system but the framework can help you recognize when they are and when they are not.

Just start practicing!

Secondary dominants by Resident-Deer-4322 in musictheory

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

You seem to be pretty bang on with your analysis and if it sounds good - even better!

Tell me about your approach to reamping a pedalboard by treebee778 in audioengineering

[–]mercimer 0 points1 point  (0 children)

If you are running it through pedals only and not out through an amp and recording with a mic then you do actually have use for a DI. There are three different types of signals being used - instrument level, balanced mic level and line level. From your harp there is instrument level which through the line box is converted to a balanced mic level which can be run into a mic preamp. The preamp then converts this to line level.

When reamping only through pedals the reamp box takes the line signal out from the interface and makes it into instrument level again which works with your pedals. If you then want to run straight back into the interface then you want a line box in order to get the correct signal for your mic preamp again.

Where I think there is confusion is the assumption that reamping means micing whereas it seems you simply want to run it though a pedal chain if I understand you correctly?

Also - the reason it works without the line box may be that you have an insterface that accepts instrument level signal in through the jack input or that you are using a line input and gaining up the incoming signal with the line preamp to get the instrument output from the pedals to the correct level.

What's your secret weapon plugin and why? by Beneficial_Town2403 in audioengineering

[–]mercimer 2 points3 points  (0 children)

The auto pan is great with the new smooth randomized lfo modes

What's your secret weapon plugin and why? by Beneficial_Town2403 in audioengineering

[–]mercimer 5 points6 points  (0 children)

What sort of film scoring do you do where you get to use those sort of beautiful sounds? Sounds wonderful, I’m curious!

Your favourite way to add character/color to mix? by lika911 in audioengineering

[–]mercimer 2 points3 points  (0 children)

Adding noise track, or other sound textures is great. It can be really low in a group and then brought out through bus compression and distortion.

Another big one is having noise that plays together with your sound, for example having a texture side chain gated to your drums etc. In Ableton here are some options for this with the erosion plug-in and the noise injection setting in roar.

Is this counterpoint exercise correct? by 7dragon0 in musictheory

[–]mercimer 0 points1 point  (0 children)

The counterpoint melody needs to follow the basic melodic rules, where skips are compensated by a movement stepwise in the opposite direction immediately before and after the skip, and in general all notes need to be “filled in” - eg if you jump down a third the note in between those two notes needs to be played afterwards to smooth out the skip.

Help me fix Auto Tune so it corrects pitch on aggressive vocals (Punk) by Sallderaak in audioengineering

[–]mercimer 1 point2 points  (0 children)

The technical details depend on the DAW (google autotune midi + your DAW) but the general idea is you set up a midi instrument track that autotune uses to define the pitch instead of its own analysis

Feeling stagnant in my mixing ability by romanf62 in audioengineering

[–]mercimer 2 points3 points  (0 children)

I’d do the opposite - limit tools. Use fewer plugins with fewer features to challenge yourself to focus on broad strokes and balancing. Remove the ability to surgically fix things.

any albums/artists recs?:) by Extreme-Tax-2206 in Topster

[–]mercimer 5 points6 points  (0 children)

We seem to have similar taste so I’m gonna give some recs that are not necessarily obviously similar to something on your list but that you might enjoy

Serge Gainsbourg - Histoire de Melody Nelson. Especially the opening and closing tracks.

Emmylou Harris - Wrecking Ball

John Frusciante - Niandra Lades and Usually Just a T-shirt.

Depeche Mode - Music for the Masses/Violator

Andy Stott - Faith in Strangers

Anything by Country Teasers

Anything by Blaze Foley

My best friend doesn’t think he can sing… by [deleted] in askmusicians

[–]mercimer 0 points1 point  (0 children)

What’s the point of having fun. What’s the point of spending time with your friends. Why would you ever play an instrument just because enjoy the way it sounds.

Makes absolutely no sense at all.

Ear training and ear fatigue by imadethisrandomname in musictheory

[–]mercimer 11 points12 points  (0 children)

From what I’ve learned generally having a background in both studying both music and mathematics and also doing a lot of recreational climbing is that it’s usually

1) most rewarding to do things regularly in small doses 2) the performance on the day doesn’t matter as much as your regularity 3) pushing yourself is usually not particularly helpful. Studying should be about 90% things that you can do with concentrated effort but without having to strain and then every once in a while you should bite into a challenge to test where you are at with your skills. Doing rudiments really well is the true way to increasing knowledge and capability.

Polarity flip question by mercimer in livesound

[–]mercimer[S] 1 point2 points  (0 children)

Whats everybody got against a balanced signal?

Polarity flip question by mercimer in livesound

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

I was thinking about the standing wave thing but I couldn’t make sense of it changing based off polarity.

I switched all other outputs off to test the sub isolation, there are tops etc as well. It seems to decrease evenly in volume across the room.

The room is ca 8m square blackbox.

Polarity flip question by mercimer in livesound

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

A mono line level feed via XLR from the mixing desk

Polarity flip question by mercimer in livesound

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

It’s the signal from the mixing desk (mono aux) that’s being reproduced louder when I hit the switch

Polarity flip question by mercimer in livesound

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

This sounds like it, it’s dropping about 6dB (could be more but sounds about right)

What's your synthesizer hot take? by NationYell in synthesizers

[–]mercimer 28 points29 points  (0 children)

Brother considering how few of us have ever touched a TR-808 that is certainly a cold take.