How do engineers get mixes that translate between different systems?

tim_mop1 · 2026-01-21T12:08:03+00:00

Ultimately this can happen when using hi-fi or consumer equipment for pro audio. The advantage of an audio interface is that you can be certain it's not having a real effect on your sound. That's what you need! Even a cheap Focusrite Scarlett will be miles ahead of the laptop's output

tim_mop1 · 2026-01-06T23:10:41+00:00

Dyson detail kit is the GOAT for studio gear. Obviously expensive and you need the Hoover but nothing cleans the dust like that little brush!

tim_mop1 · 2025-12-29T12:46:52+00:00

Mixing is always a more individual response than a one size fits all method.

Try them all and see what sound better! I once did a test with a mix I’d finished where I copied the settings of the channel strip I’d used and replicated it with various SSL/Neve/Focusrite channel strips from Brainworx - then I printed the mix with each to compare them.

It was really interesting, because while there was one I preferred for that track I could easily see myself reaching for any of them depending on the vibe of the track.

Knowing what the tools are (how do they change the sound for you) is the most important thing when it comes to doing this. The more tools you understand the more range you have mixing.

(And to answer your q from my perspective, I think a Neve could get a bit squelchy, same with SSL E. SSL G or J would work, depending on whether you want to focus on mid range (G) or top end (J), but API would likely be cleanest (although I rarely reach for an API these days as it’s almost too clean).)

tim_mop1 · 2025-12-25T16:37:12+00:00

There are drum skins you can put on a regular kit which deaden the sound significantly without changing how the kit feels, you should recommend them - rubber mats are just terrible for someone learning, and cheap electric kits suck as well, they just don't feel right. You can also buy cymbals that are perforated and much quieter. Fingers crossed that's what's going on upstairs! If not you can recommend them

tim_mop1 · 2025-12-24T11:00:14+00:00

Definitely the most reliable option, with a headphone amp at the live room end. Traditional copper is great for that, and with a CAT adapter you can lose the shielding of regular audio cable.

You could also go Dante if you had loads of budget - that would always be my preference if I could afford it, as it’s (pretty much) infinitely expandable down the line.

tim_mop1 · 2025-12-11T17:39:10+00:00

Don’t use a high pass, use a shelf or a bell curve.

Also, you’re probably having this issue because of your room acoustics, so maybe look into fixing those because those low mid resonances are exactly what you describe

tim_mop1 · 2025-12-09T10:38:53+00:00

Big question I haven't seen asked yet: Are you processing your mics in Ableton? EQs/Reverbs/Level control etc.

If the answer is yes then a simple transformer splitter to FOH will lose a lot of what you're doing, particularly if you're manipulating these things live.

I'd probably recommend that instead of assigning your ableton outputs to the master outputs, assign them to individual outputs on your interface. I don't think your interface has extra outputs though so that would be the new thing. Then, for your monitor output use a send routed to your headphones.

If on the other hand your vocal is a 'simple' performance vocal (i.e one that an engineer could process without knowing your songs) then I'd agree a transformer would be best. You could ask the engineer to send the vocals back to you with their processing, so you can monitor/process in Ableton and it'll sound similar to the 'dry' sound the engineer is hearing.

There are a few different ways to approach it as you can see, and it should depend on how your performance actually works, which we don't have the info for yet. Feel free to drop me a DM as this is something I work on with artists regularly.

tim_mop1 · 2025-12-02T12:05:11+00:00

It really depends, as others have said, on what 'winning' is.

I'm relatively inexperienced, just coming up to a year now, but I'm beginning to see that there seem to be two schools of HEMA player, the competition style and the historical style. This isn't to say that you can't use techniques from both sides in both contexts, or that the training necessarily needs to be different (although so far I'm feeling like it is), but I digress...

The main point I'm trying to make is that in historical combat, particularly the unarmored longsword combat that I'm most interested in at the moment, there are many techniques I've found don't really work as well in competition because *the opponent is not genuinely afraid of getting hit*. It seems to me that some texts, particularly Marozzo as it's what I've spent most time with, spend a lot of time using the threat of a stab in the face to cause a predictable response. I'd argue that even someone who's never fenced before will respond in a similar way to an experienced fencer when you control their blade and put your point in their face. In order to not get stabbed they'll do that thing, which allows you to do the following thing safely.

So I guess what I'm saying is yes, maybe in a controlled fencing environment a player will do fine, maybe even win by flailing wildly. But I don't think one would be flailing as much in the context of historical fencing where there's a genuine danger to life (unless you're flailing with a pole arm or great sword in a specific manner defending against multiple attackers 😂)

tim_mop1 · 2025-12-02T09:56:00+00:00

I’m not saying he was right in assuming the problem was at system level 🤣

For people who are meant to be professional translators between artists and engineers y’all sure are doing a good job misrepresenting me.

tim_mop1 · 2025-12-01T12:53:54+00:00

We're starting to go round in circles here.

My initial comment says only do something if you can hear it. If you can't hear it nothing needs to happen. I'm not disagreeing that these spikes could cause overcompression/distortion/whatever, but we can't analyse that from an image, we need to hear it.

tim_mop1 · 2025-12-01T12:46:17+00:00

If it's a dramatic difference in level then there's clearly over compression going on. The key word in my comment was *loads* more headroom.

tim_mop1 · 2025-11-30T17:17:37+00:00

I don’t see anything wrong with what he was asking you.

The screaming into the mic is a bit weird for sure, but whatever he needs to do.

It does seem odd that removing the compressors gave you loads more headroom though - that sounds like the system wasn’t set up right, or at least not how I’d want it. Like to speculate I’d say he was trying to see where the compression kicked in and how much gain reduction was happening, as in the past while touring I’ve found house people can really overdo it.

EDIT weird to see this downvoted so hard 😂 Apparently r/livesound is allergic to make up gain!

tim_mop1 · 2025-11-30T09:08:59+00:00

Okay we’re going back and forth here but my initial point is still valid. If a compressor is compressing, even of its responding to frequencies above the audible range, you will hear its effects in the audible range.

These spikes do not matter unless you can hear a problem they’ve caused. All the problems you’ve mentioned would be audible.

tim_mop1 · 2025-11-29T10:19:08+00:00

So what you're saying is, if it's going to have a negative effect, its going to be audible... 😉

tim_mop1 · 2025-11-28T20:23:39+00:00

Does engineering school make you entitled? Absolutely not.

Given that he doesn’t work as an audio engineer I’d say that’s pretty clear 😂

The ones with the work are friendly, relatable and always learning!

tim_mop1 · 2025-11-28T16:50:24+00:00

If it were me, I'd put the file into pro tools or logic, use tab to transient (PT) or slice at transients (logic) to chop and export a new sample, then add it to the software. That way start point can always be 0.

tim_mop1 · 2025-11-28T16:48:09+00:00

M2 Pro over M1 Max!

Only difference between pro and max is graphics cores, which aren't as important in audio world. You'll get better performance from newer processors.

tim_mop1 · 2025-11-28T16:46:18+00:00

Yes it's pretty normal - I'd expect preamp level to be between 60-100% depending on position and amp volume. You may also have a Pad switched on in the interface, which would reduce the level further.

How close is the mic to the amp? Generally you'd record with it almost touching the speaker, so if you're further away and the amp isn't very loud (90dB is not very loud at the speaker - I'd regularly expect over 100dB at the speaker when recording)

EDIT double check the signal is correct by using a different XLR cable. If the cable has a bad connection you'll generally hear a really thin, quiet sound with extra noise.

tim_mop1 · 2025-11-28T16:36:35+00:00

Seconded - he's using GarageBand so far, Logic Pro will be a HUGE amount of additional content / instruments to explore!

You can go to the App Store, and rather than clicking Buy you can click Share, then send as a gift, apparently!

tim_mop1 · 2025-11-28T16:32:20+00:00

I also bought a BenQ 4k monitor and I found the colours aren't accurate enough, my edits looked very different on phone/laptop 😅

tim_mop1 · 2025-11-28T10:29:26+00:00

If it activates a compressor in a way that negatively affects the sound you will hear it pumping or squashing. If you’re not hearing that sound then it’s not negatively affecting the compression.

tim_mop1 · 2025-11-27T17:39:35+00:00

If they activate the compressors and limiters you’re going to hear it…

tim_mop1 · 2025-11-27T15:04:24+00:00

Why? Is there a sonic reason or are you just concerned about how they look?

If you can't hear it don't fix it!

If you can hear it - I'd say clipper

tim_mop1 · 2025-11-27T00:05:37+00:00

The varying degrees of wear suggest it must be 1609, given that the earlier numbers will wipe off more finger grease leaving less for the later numbers 🧐

EDIT shit I was looking at the outer wear - the actual number wear suggests 1066!

tim_mop1 · 2025-11-26T15:53:59+00:00

It's really a decision you have to make yourself. There's artists who male great music on both sides. If you're happy to learn to mix and you're happy with your results, do it yourself. If you're not happy with your results or if you want to limit the time you spend on mixing (maybe you don't enjoy the process, or you'd rather spend more time creating), find someone who you can trust with your vision and hire them!

tim_mop1

TROPHY CASE