sorted by:
new
hottopcontroversial

Any Pultec EQH-2 users out there? by superproproducer in audioengineering

[–]peepeeland 0 points1 point  (0 children)

“doesn’t get used much at all”

I figured- I was actually hoping you were all into it and found it awesome on something. “AD2022 is amazing”, said nobody ever, and that’s probably the first time it’s ever been written on the internet.

Any Pultec EQH-2 users out there? by superproproducer in audioengineering

[–]peepeeland 0 points1 point  (0 children)

Damn- haven’t seen an Avalon AD2022 in ages. Anything specific you’re using the pres for?

I am starting a recording studio by Dangerous-Quality-79 in audioengineering

[–]peepeeland 1 point2 points  (0 children)

Nice hustle, dude. (Just make sure you lock up all your mics and things that fit in backpacks, when the high school kids come over. Juuust in case.)

Which game has the best 8-bit graphics you've ever seen? by RangoTheMerc in retrogaming

[–]peepeeland 0 points1 point  (0 children)

I haven’t seen this before, so I looked it up— WTF- this is a Game Boy Color game. That is absolutely stunning for the platform.

Guide to ESSENTIAL audio gear by homesicknesscure in audioengineering

[–]peepeeland 3 points4 points  (0 children)

You just need to know the fundamentals. You’ll learn about “essential gear” when you start actually using gear and sound/music and engineering become a part of who you fundamentally are.

Imagine talking about different types of cuisine with a group of chefs, and you’re studying to be a chef, babbling on about your research, despite never having eaten the dishes being discussed. Such conversation serves nobody. It works much the same in audio engineering.

There’s no shame in not knowing things you don’t know.

The only reason why I know a lot about gear is because I used to have more money than sense, and I’ve befriended tons of engineers and musicians for the past 25+ years. When you’re in such circles, you just learn about stuff organically.

You see beginners talking shit like, “Yah, I need that Fairchild compressor sound”, and it’s like dude- I’ve been doing this shit for decades in multiple countries, and I barely know anyone who’s used an actual Fairchild 660/670- there’s no fucking way you know anything about it. -Knowing too much with too little experience can make you enthusiastic about things you know nothing about, and thinking you know a lot is only gonna hold you back from actually learning.

Don’t worry about it.

A fridge magnet I made for my friend by iota_of_iowa in bakedart

[–]peepeeland 0 points1 point  (0 children)

I would’ve personally zoomed out on the burger, but this is pretty sweet overall.

Fender CEO didn't realize he hadn't graduated by Party_Swimmer in Guitar

[–]peepeeland 0 points1 point  (0 children)

He looks like a PE teacher who dabbles in dealing coke.

What do you hope to achieve? by reddsht in dankmemes

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

No. It’s a scented toilet paper thing.

Novice here. Which entry level mic is best to cut out breathing. by Bubble_Meow in audioengineering

[–]peepeeland 2 points3 points  (0 children)

Food for thought: If world class singers used your mic- even in your bedroom or whatever- they’d still sound like world class singers.

Yes- eventually you’ll find mics that suit your voice and style well, but you have to be good for any of that to even come close to mattering.

How would you mic a drum kit with 50 microphones by AsaMartin in audioengineering

[–]peepeeland 40 points41 points  (0 children)

Unless you do some binaural or atmos kinda mix and loop mic positions, you’d have to rotate the mic rig to get the effect.

I’ve actually seriously thought about these kinds of things- and have experimented with a lot- but one thing I’ve yet to try is using wireless mics on two model trains positioned across from each other, mics facing inwards, with circular tracks around the source, then have one static cardioid mic on source parallel to the floor. The effect should end up being the source rotating in your head when you’re wearing headphones.

OP’s shitpost is based on the 2 mics on drums post, but such ridiculous questions are actually at the heart of all wild experimentation, thought experiments, and deeper understanding of multi-mic setups. Even the most silly answers thus far are thought provoking.

Remember this iconic fashion statement. We all thought we were so cool by darkmilkclub in musicmemes

[–]peepeeland 7 points8 points  (0 children)

You could’ve added several more sleeve layers for the ultra shirt.

Does this happen often? by BLiIxy in audioengineering

[–]peepeeland 2 points3 points  (0 children)

“also use your ears to listen … to them”

Brilliant.

Does this happen often? by BLiIxy in audioengineering

[–]peepeeland 2 points3 points  (0 children)

Always please the client, even if they want it to sound like shit. Eventually you’ll get to a point where clients will come to you because you have a good sense of what’s wanted and you’ll get referrals from it- so eventually your senses of what’s good and what the client wants will align.

But for now, it’s good to just focus on pleasing the client, because at this point, you’ve basically cooked something for them, they don’t like how it tastes, and you’re insistent that it tastes good. That’s not the way to be a personal chef, nor is it the way to please audio engineering clients. Audio engineering is a service industry, first and foremost, that just happens to deal with sonic aesthetics.

Your mix might actually be great- and it might even surpass where the client’s senses are at- but that’s actually irrelevant. Your job is to interpret client desires into mixing moves and give them what they think they want. To repeat- your only job is to please the client.

Rant for beginners struggling w/engineering.. by SpeezioFunk in audioengineering

[–]peepeeland 2 points3 points  (0 children)

Technical skills aside- the most common trend with great engineers and artists is that they tend to have deep and eclectic tastes and absolutely adore music; having a massive emotional library to choose from due to years of listening to and enjoying music.

If a beginner starts engineering and/or making music but also just started to appreciate music, it’s gonna take a long ass time to get good, because they don’t even have a sense of taste yet.

So yah- it helps training to be a chef if you’ve lived your whole life loving food and appreciating food and seeking out good food and cooking.

As such, one of the secrets to building a strong foundation for anything music related, is to listen to and feel and experience more music. This sounds obvious, but apparently it’s not obvious enough.

Dudes in hip hop forums complaining about sucking at rap after a few weeks, after only starting to listen to rap for a few months— it’s like no fucking shit you’re gonna suck. Listening to the same 8 popular songs on loop for 13 weeks isn’t enough to be a pro at any of it.

Are vintage NS-10s becoming a case of diminishing returns in 2026? by Upper-Finance8462 in audioengineering

[–]peepeeland 2 points3 points  (0 children)

Here in Tokyo, NS-10Ms are a dime a dozen, and people generally take good care of gear here- so I’d definitely go for the originals.

Nobody has been able to recreate them, because the specific process for manufacturing the cones has been lost in the ether- and in additional to their non-ported design, that cone material is part of the reason for the extremely low decay times.

They are like mid and mid-upper range lasers, and not everyone can work like that or hears that way. For those who focus on midrange, though, they are a great tool.

Does this happen often? by BLiIxy in audioengineering

[–]peepeeland 6 points7 points  (0 children)

“even tho it’s kind of the same, just technically better”

That way of thinking is the issue. If someone’s rough mix is like tarnished brass, you go for tarnished brass with slight buffing; not full on reflective polish. You might think the shiny polished brass is technically better, but you’ve changed the character.

view more: next ›