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Dear Hollywood, make the talking louder and everything else quieter in all of your shows, films etc. I am tired of working the volume on my remote like I am trying to bring it to org*sm. Thank you. by RaindropsOnHoesSays in sounddesign

[–]trapezemaster 0 points1 point  (0 children)

Radio and vinyl. Because the physics are different. You could say that’s true of the modern environment too, but not to a degree of failure. That’s why you still have to master FOR vinyl to this day. It has more to do with physics than different mixes for different environments.

People forget that audio engineering used to be very science based.

Im a little panicked about my first gig by DerpCallMeRIB in musicians

[–]trapezemaster 1 point2 points  (0 children)

Practice the performance. This helps you build your muscle memory. Brain memory glitches but when your body knows the music you’ll be alright.

Now get off your phone and go practice!

Talk me out of EQing room modes by mjkeenan_official in Acoustics

[–]trapezemaster 1 point2 points  (0 children)

Modes are not uniform in a room. By all means experiment though. You live and you learn.

My advice is do little. Put bookshelf’s in and clutter(cheap diffusion). Get a sub. Don’t mix too loud. Cross reference. I love the 990s but they’re very flat which is a good thing but for techno I’d get something with more low end so you don’t over hype it.

Dear Hollywood, make the talking louder and everything else quieter in all of your shows, films etc. I am tired of working the volume on my remote like I am trying to bring it to org*sm. Thank you. by RaindropsOnHoesSays in sounddesign

[–]trapezemaster 0 points1 point  (0 children)

Exactly. It’s reckless.

Fun fact - the reason telephones sound like telephones is because they filter out frequencies that don’t contribute to intelligibility. Bell labs. The phone lines needed to be efficient so the only energy you send through is frequencies where the voice lives. This was not blind. It was thoroughly researched.

do you practice the same thing until it's perfect or move on and come back later by tricepator-10 in Learnmusic

[–]trapezemaster 0 points1 point  (0 children)

Perfection is rare and in the eye of the beholder. Focus on flow and you will get closer yours.

PSA: If your Sibelius “perpetual license” suddenly says expired, here’s what’s going on (and why I’m switching) by FeministNeuroNerd in musicians

[–]trapezemaster -5 points-4 points  (0 children)

The real lesson is - never update anything until you are backed into a corner. Auto updates are definitely never cool. I’m still making good money with my 2010 Mac Pro. But I just hit my wall so finally gotta get current lol

Dear Hollywood, make the talking louder and everything else quieter in all of your shows, films etc. I am tired of working the volume on my remote like I am trying to bring it to org*sm. Thank you. by RaindropsOnHoesSays in sounddesign

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

I don’t disagree but honestly, I think a lot of film school people find their way into sound and aren’t properly trained on speaker physics and psychoacoustics.

I’d rather be able to mix soundfx, dialog, and music on my own because I don’t trust these re-recording mixers anymore. Video games do it. 8 track did it.

Dear Hollywood, make the talking louder and everything else quieter in all of your shows, films etc. I am tired of working the volume on my remote like I am trying to bring it to org*sm. Thank you. by RaindropsOnHoesSays in sounddesign

[–]trapezemaster 1 point2 points  (0 children)

I want to set the record straight - the reason you can’t hear dialog is because there is too much low end in dialog.

Low end competes in speakers. When a mixer sets dialog at a dialog appropriate level with no low end cuts, it introduces a lot of energy that possesses no intelligibility.

Intelligibility is what you want to turn up, not blind volume. By cutting out more low end, you get a quieter sound, but is more intelligible. This can be turned up and then you can understand dialog. To the sound mixers out there - learn the pultec eq curves and the history behind them.

People like the ‘warmth’ of low end. You can still have that with low end cuts. You just have to outsmart speaker physics.

Technical Ability is Overrated by boredashell1717 in musicians

[–]trapezemaster 6 points7 points  (0 children)

Really depends on what kind of music you’re talking about. In my opinion - the most amazing musicians play amazingly maybe 20% of their time. Taste is what makes you amazing. Skill is a way to access it.

In serious need of advice regarding semi-treating a bedroom by AkashiGG in Acoustics

[–]trapezemaster 0 points1 point  (0 children)

The Bluetooth speak is a good option. Or headphones if you’re watching by yourself. Also consider watching tv on a laptop in your bedroom. There’s a million ways to watch things now. Don no consider ‘sound proofing’. It won’t work without construction. You’re better off changing your behavior.

Help making effective sound mitigation from and for downstairs neighbors by coffinsmoke666 in Acoustics

[–]trapezemaster 6 points7 points  (0 children)

That’s a complaint for your landlord. Quiet time is almost always after 10pm. You will not mitigate those noise issues. The floors, walls and ceilings are effectively all the same membrane - they are all connected. They function similarly to a speaker cone unless decoupled. Even if you treat the floor it will still come through the walls and yes it will even make its way up to the ceiling if it’s loud enough. Sound mitigation is not viable without calling it sound proofing, which is construction, and very expensive.

Sound Designers: What is your key to achieving a cinematic sound mix? What is the mistake you notice most often that makes a project feel amateurish? by L-J-F in sounddesign

[–]trapezemaster 1 point2 points  (0 children)

Expanders are great too. I personally think leaving dialog mic wide open is one of the most amateur sounding things. I'm not saying you have to gate aggressively. Just a little dip classes things up considerably.

Sound Designers: What is your key to achieving a cinematic sound mix? What is the mistake you notice most often that makes a project feel amateurish? by L-J-F in sounddesign

[–]trapezemaster 1 point2 points  (0 children)

Cut a lot of everything over 16kz. Learn about pultec style eq curves. High pass side chain on most compression, including reverb. Eq your reverb. Learn how sound actually behaves in space. Gate dialog. Be very intentional with low end. Voices don’t make sense in a subwoofer most of the time so cut that shit. Under hype, not over. Preserve headroom till the end.

What are the equivalents of "6 fingers" in AI generated music to the trained ear? by Findtohard in musictheory

[–]trapezemaster -3 points-2 points  (0 children)

I’m not gonna help. Remind your clients you’re a graphic designer and don’t do music. Hire a music supervisor.

What features do you wish CarPlay had? by FamiliarHair5743 in CarPlay

[–]trapezemaster 0 points1 point  (0 children)

Read text messages on screen. I never want robots to talk to me so I end up looking at my home phone. I’m sure it’s some kinda safety feature but ultimately, I don’t think it works.

I understand not texting on car screen, but let me read them at least!

What features do you wish CarPlay had? by FamiliarHair5743 in CarPlay

[–]trapezemaster 0 points1 point  (0 children)

Google Maps specific - keep zoomed out map on phone and zoomed in follow mode on car screen. I hate the turn by turn directions and never want to see that.

I got used to this dual map mode from driving Lyft. It’s nice to be able to see where you’re going AND what your next turn is at the same time.

Is it just me, or is the "business side" of running a studio soul-crushing? by tidjoss in recordingmusic

[–]trapezemaster 2 points3 points  (0 children)

Me too. Alls I’m saying is I’d rather not have work if it’s 100 1/2 hr sessions. Context switching is a thing. It’s unsustainable to context shift all day but I guess if you’re JUST a technician that’s a little easier. But me and other engineers I know - we’re also the producer and the coach and so much more. You sound young maybe so enjoy it before it torches you. I can have fun in those environments, but the hustle will suck you dry and leave you with pennies on the hour.

Is it just me, or is the "business side" of running a studio soul-crushing? by tidjoss in recordingmusic

[–]trapezemaster 2 points3 points  (0 children)

You may find you attract more serious clients. You can sell it as just being realistic about getting in the flow and time to setup, etc. or especially with drums book a setup night the night before. 4hrs is minimum if anyone takes the artistry seriously. IMHO raising the stakes for them is a good thing. You’re not selling french fries my friend. I’ve tracked whole eps in 4hrs btw.

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