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I am 100% on board with the mix exchange idea. I've been binging through a bunch of Inside Track and Mix Rescue stuff on Sound on Sound, and I've been dying to have a go at a mix of something other than the punk band I've been working with for the last year. It'd also be great to hear what other people can do with some of my own music, it could definitely use fresh ears.
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Sep 21, 2017 15:35
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Nova88 posted:I've been noticing that after rendering my project from Reaper, the output .flac file of the mix seems to have a weaker low-end compared to when I'm listening to it via the master track from within the project. I'm rendering from the master mix so I would have though they would sound the same. For god knows what reason, my Quad Capture has a higher maximum output level for anything piped though ASIO versus what goes through the Windows stack. Apart from things like that, obviously whatever player you're using can also be applying replay gain settings. If you could compare between your project and a project that just has the flac file in it, that should confirm whether or not all this is the case.
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Sep 21, 2017 16:03
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I would love the mixing thing. I'm just starting to record my own stuff and I think learning by doing yourself is great, but learning from others (esp. ones who know more than me, which is everyone) is incredibly valuable.
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Sep 21, 2017 16:27
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Sign me up too, I'd love to learn some mixing and mastering techniques that aren't just "max the gently caress out of everything."
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Sep 21, 2017 17:53
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Spanish Manlove posted:Sign me up too, I'd love to learn some mixing and mastering techniques that aren't just "max the gently caress out of everything." haha hi5 brick wall brother at this point someone just needs to make the thread and link it here.
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Sep 21, 2017 21:52
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If no-one has made one by the time I get home tonight I'll write one up. My only other question is should we set a recommended volume level? Maybe -6? And are there any free tools that can analyse a project and say what it's at? I figure if we have a standard for volume people won't be as tempted to slowly crawl their volume up super high  Also I guess if anyone is willing to master too? Although that's pretty optional. But yeah, I'll throw up a thread later today if noone else beats me to it.
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Sep 21, 2017 22:23
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I'm all for going even lower, tbh. YouTube, iTunes, and Spotify are all volume normalizing closer to -12, but even if we split the difference I feel like the extra room for dynamics would be nice I know the adobe stuff comes packaged with Loudness Radar since that's what I use at work, but I don't know about any free ones
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Sep 22, 2017 00:20
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How we hear loudness is not determined by the peak level, it's the RMS level. Setting it to 0, -6, -12 won't change how loud someone can make the entire mix using compression. You can use tools to determine the actual loudness and relate it to a specific standard, but honestly critiquing how loud or quiet something is should be part of the feedback. Everyone should just mix to the volume they think is appropriate/normal/average. Some people may use more dynamic range than others, which is a stylistic choice. e: I should add though, people critiquing should be able to reference how loud or quiet something is. Obviously due to how our ears hear loudness, something that is louder is often interpreted as "better", even though it is the same sound (fletcher munson curve). If you turn down your master volume for a loud song, and turn it up for a quiet song, you literally have no base reference for how loud you're hearing anything. I'm not entirely sure if this is obvious or not, so I felt like mentioning it. I know it took me longer than it should have to realize I should never ever touch my master fader from the spot I measured to be a certain spl level from where I sit in my room. the Gaffe fucked around with this message at 07:09 on Sep 22, 2017 |
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Sep 22, 2017 06:57
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A fair point. The reason I was figuring on standardising volume is because it seems to be advised to have a typical RMS for mastering. Not much could be done with something already sitting at -0.1 but you can always turn up. It's true that's a stylistic choice though. I was also thinking people would be more likely to pick out things they do/don't like with several mixes if they're sitting around the same volume, rather than having their ears tricked with sheer loudness. I'm fine with going either way, and found some free tools for RMS loudness and stuff. Opinions from others? I will be doing the thread soon though.
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Sep 22, 2017 07:11
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I don't think the nature of these mix challenges should account for leaving room in the mix 'for the master'. They should just be mixed as if it's the finished product, if that means mixing everything at an average peak of -6, then sticking a limiter on the master to just bring it up those final decibels, then so be it. It'll be easier to showcase reference mixes from professionally released tracks that way as well, since they're just closer in volume to one another. This is all my opinion of course, feel free to chime in.
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Sep 22, 2017 07:17
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New thread: https://forums.somethingawful.com/showthread.php?threadid=3835097 I'm exhausted after work, so if anyone wants to submit some text or sections or fix whatever then just post in it and I'll update the OP.
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Sep 22, 2017 11:14
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If you're going to deliver stems for someone else to mix, I'm not sure it matters what the sum mix level is at delivery, or what the level of the individual stems is as long as they aren't clipping or so ridiculously quiet that bringing them up to a sensible level brings a lot of noise with it. The whole point is that someone else is going to look at it with fresh ears and start from scratch. I would have thought anyway. The question is more how "dry" you leave your stuff. Do you push any sort of agenda by baking in compression beyond pure technical requirements? Reverb? Reverb on a separate track? Do you just provide what came into the microphones/out of the instrument plugin, as an excercise in letting go of artistic direction? Including different takes? Direct In signal that can be re-amped? Midi score, where available? I guess that might be going a bit far. Somewhere in between, at the point that all obvious technical errors are already fixed and some timbral choices are made? Or really a half/fully finished product for someone to polish? Not as some kind of directive, but as questions you can ask yourself, I guess. If you're going to include an mp3 of the finished product to communicate what you had in mind, you can obviously consider if it should have a playback level in common with everybody else's. That'll be pretty hard to coordinate though.
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Sep 22, 2017 11:20
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^ I believe we were talking about the finished mixes, not the stems that were being delivered. Stems should essentially just be the raw recordings without any processing done to them. With things like reverbs that are essential to the music, that would be to the artist's discretion between what is creatively necessary, and what is just mix processing.
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Sep 22, 2017 17:11
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My vote - mix to 0. It's been our digital gold standard from the beginning. But we should all be required to only work with "black face" ADATs. (Is that racist?) https://www.pgtonstudio.ch/Adat_Manual.pdf
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Sep 22, 2017 18:33
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So, this is an odd question, but I’m not sure where else to ask. What would the reason for me turning my ceiling fan off causing my new monitors to pop? That light switch does not control the outlet that the power supply of the speakers is plugged into. My audio interface is plugged into the same supply, and I do not hear the pop through my headphones. I’m kind of at a loss on this one. Is it bad for my speakers? PS I love the idea of mixing each others’ poo poo for practice and will rip the stems from some of my already finished songs and post them ASAP so you can compare it to what I ended up doing
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Sep 23, 2017 00:12
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Your ceiling fan has a motor inside of it, and when you connect it to the circuit the power surges, which you hear in the speakers because they're on the same circuit. It's likely that the sudden surge of power on the circuit to the motor in the fan is drawing enough power that for a brief moment it's as if your speakers are turned off and then back on.
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Oct 6, 2017 05:10
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RivensBitch posted:Your ceiling fan has a motor inside of it, and when you connect it to the circuit the power surges, which you hear in the speakers because they're on the same circuit. It's likely that the sudden surge of power on the circuit to the motor in the fan is drawing enough power that for a brief moment it's as if your speakers are turned off and then back on. Yes, this. If you want to avoid that, I think an uninterrupted power supply (UPS) unit should help. Other goons, feel free to correct me.
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Oct 6, 2017 13:08
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If you're using relatively long, unbalanced cables that are poorly shielded to connect your monitors, they could be acting as an antenna for EM garbage. In that case, a ups won't help. I have a cable going into a mixer that picks up my fridge switching on and off. Since it doesn't show up in the heaphone out for you, you know that if you've got something similar going on, it has got to be the cables going into your monitors tough.
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Oct 6, 2017 13:42
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Two months ago, on August 15th, I sent in my Sennheiser headphones to their warranty center for repair/replacement. I waited a month without receiving any communication about them at all, and decided to call. The person on the phone that day told me that they had simply forgotten to send out my order and that she would do so that day. I waited another couple of weeks, and called them again today. Now they are telling me that my headphones were never sent out and are actually on back order until at least the 12th of this month. I asked to speak to a supervisor, and was told that they would call me back (which they haven't). gently caress Sennheiser. I haven't been able to track anything in months. I don't care what the quality of their products are, I'm never buying anything from them again.
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Oct 10, 2017 17:18
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I am looking for a tube buffer to replace my Fryette Valvulator 1 that I recently discovered won't power on. While I plan on taking it apart and seeing if I can't fix it, I fear the worst and looking for Plan B. Can anyone who uses tube buffers in their signal chain make a recommendation?
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Oct 10, 2017 18:13
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So, what's the deal with Stagg stuff? I'm looking at the SDM50 and I'm wondering what the catch is. It just seems comparable with the SM58 for less than half the price.
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Oct 24, 2017 23:49
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After too long, I've finally got some acoustic treatment to put up. Nothing fancy, just one of those Auralex room kits. About 36 12" square foam pieces with the adhesive strips. My room is 14'x14' with a 10.5' ceiling. It already sounds half-decent in here for a room of its size, but I want to optimize the placement of this stuff. A friend told me there's a 'trick' you can do with a hand mirror at ear-level, marking off spots on the wall and ceiling where the speaker cones are visible in the mirror from the listening position - is this useful at all, or should I just apply blocks of the panels at the most obvious spots like directly where the monitors are pointing, and at intervals along the walls? Can anyone help me out with this?
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Oct 26, 2017 19:55
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We'll drat it, I'm dumb. The Auralex kit didn't come with enough adhesive (!!!) and the cheap double-sided tape I bought is no good... I had almost finished putting up all the panels when they started to fall off my walls, it was very frustrating. On the plus side everything is marked off now so I can put them back up most Ricky-Tick. Is it really necessary that I use the official Auralex adhesive stuff or will a strong brand of double-sided tape work the same? I get that it's pretty strong.
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Oct 28, 2017 17:47
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Mister Speaker posted:After too long, I've finally got some acoustic treatment to put up. Nothing fancy, just one of those Auralex room kits. About 36 12" square foam pieces with the adhesive strips. My room is 14'x14' with a 10.5' ceiling. It already sounds half-decent in here for a room of its size, but I want to optimize the placement of this stuff. A friend told me there's a 'trick' you can do with a hand mirror at ear-level, marking off spots on the wall and ceiling where the speaker cones are visible in the mirror from the listening position - is this useful at all, or should I just apply blocks of the panels at the most obvious spots like directly where the monitors are pointing, and at intervals along the walls? Can anyone help me out with this? The mirror thing is a great way to find reflection points relative to your seating position, there's probably no better way to find those spots. I'd use 4 to 6 of those panels left and right, same on the ceiling, and the rest behind your lcd monitor and scattered about the room breaking up any large reflective surfaces. Sticking them up is a pain, I've always used contact adhesive but it needs a lot because it soaks into the foam, not great for the paint on the walls though (had to repaint when I moved out last time). I bought some picture hanging clicky-velcro strips and used some of them cut into pieces to hang some foam recently, that's probably been the best solution I've found so far, only needed a small square in each corner to hold a 50cmx50cm panel.
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Nov 10, 2017 13:01
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To hang the foam panels in my studio space, I used the recommended adhesive to stick the foam to foamcore panels, so I could then tack them to the walls with little finishing nails. It's worked great, especially since I've had to move them to a different room once already.
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Nov 10, 2017 16:11
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Can someone help me with picking an audio interface? I want to run a USB interface that can act as my soundcard while taking in the following inputs: 1) AxeFX II - either 1x SPDIF or 2x balanced 1/4" TRS or 2x balanced XLR output 2) jdxi syth - either 1x 1/4" TRS via the headphone jack or 2x 1/4" TRS line out 3) Microphone - XLR, and needs preamp 4) PC sound via USB I want to mix allllllll these together and then send them back to my PC and to my headphones, and really 2 sets of headphones. BUT WAIT! There's more: i have 2x jbl monitors I want to run as well, and I want my dang stereo guitar effects to stay stereo all the way through. So far I found the Rubrix44 which is close, or the focusrite 18i8. My one issue with the 18i8 is that I had a 2i2 and the build quality was not too great imo, it lasted a year before the soldering gave way to plugging and unplugging, and it had this super annoying inability to run stereo signals all the way to the monitors. Any ideas? Thanks and god bless.
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Nov 15, 2017 19:40
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Where are all of my Reaper files located? I've recorded a bunch but can't find the exact files I've recorded. I'm swapping the drive in my laptop to a bigger one and I won't be able to clone my current drive so I have to manually back up all this stuff and I can't find a folder that's housing all of the cuts and whatnot.
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Nov 17, 2017 01:19
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s.i.r.e. posted:Where are all of my Reaper files located? I've recorded a bunch but can't find the exact files I've recorded. I'm swapping the drive in my laptop to a bigger one and I won't be able to clone my current drive so I have to manually back up all this stuff and I can't find a folder that's housing all of the cuts and whatnot. I just go save as and see where it puts them. you could also check in preferences.
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Nov 17, 2017 12:36
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sebmojo posted:I just go save as and see where it puts them. you could also check in preferences. Thanks, just the files have all of the data I recorded? I assumed the actual media was stored elsewhere in parts and that the save file is the "timeline" or whatever of how those parts fit together. I didn't know it was an all-in-one thing.
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Nov 18, 2017 21:13
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s.i.r.e. posted:Thanks, just the files have all of the data I recorded? Below image suggests that perhaps by default wherever you find a project file, there will be an associated subfolder called Audio containing the media files for it.  It's likely a good idea just to backup every folder you find an rpp file in with all its subfolders. Make use of Windows search or voidtools' Everything (or Finder on mac or whatever it's called there) to find wherever everything is.
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Nov 18, 2017 22:50
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Everything is the tits. having search that actually works in Windows feels almost like cheating.
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Nov 18, 2017 23:54
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Any thoughts on good vocal mics? I'm thinking of picking up either an LDC (so I can put it in front of a bass drum too) or a lower-midrange (~$300 or so) ribbon soon to supplement my usual Beta 58a. Really looking at this one in the ribbon category because I'm a colossal jackass. Grand Prize Winner fucked around with this message at 03:54 on Nov 26, 2017 |
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Nov 26, 2017 03:44
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what's the trick for getting these reverby sort of distant vocals that you hear a lot on indie/lo-fi songs? I can't imagine it's complicated but I don't know how to recreate it something like this https://www.youtube.com/watch?v=I6Jjf_MLDsw
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Nov 29, 2017 01:10
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shitloads of reverb and mix down the original?
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Nov 29, 2017 01:31
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Paperhouse posted:what's the trick for getting these reverby sort of distant vocals that you hear a lot on indie/lo-fi songs? I can't imagine it's complicated but I don't know how to recreate it 1. Reverb should be mono, (I think?) 2. EQ, hi and lo pass cuts so you're only letting a slice (cutting out the low, and/or the highs) of the reverb overlay the original vocals. That's my wild guess there. I've done it with drums. magnificent7 fucked around with this message at 18:27 on Dec 4, 2017 |
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Dec 4, 2017 18:17
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I recently ran into a weird issue I never before encountered before, while recording a classical guitar with two RØDE NT-5 via a Zoom H5 as an interface into REAPER. There is a metallic-sounding vibrato throughout the recording that's not intended. First I thought it might be a phase issue but switching polarity didn't fix anything and in fact even just listening to one channel still produces the same sound. I loaded up a snippet of the recording into RX5 to look at the spectogram and in fact every single note wobbles slightly in the higher frequencies as if there was a constant, super regular vibrato going on.  Could this be a room acoustics thing or is it a technological issue? The recording is pretty much unusable and I will have to do it again at some point and would like to know what I could try to avoid that in the future.
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Dec 7, 2017 21:27
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Honj Steak posted:I recently ran into a weird issue I never before encountered before, while recording a classical guitar with two RØDE NT-5 via a Zoom H5 as an interface into REAPER. I don't know the answer, BUT I just wanted to say that, while it's not RX5 levels of detail or polish, spectral editing is now a native part of Reaper  https://www.youtube.com/watch?v=vSBO_VC9q3E
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Dec 8, 2017 14:50
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Honj Steak posted:There is a metallic-sounding vibrato throughout the recording that's not intended.
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Dec 8, 2017 17:40
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Does anyone have any tips or advice for mastering to cassette? Been doing a lot of simultaneous digital + analog tracking lately and then looping stuff through tape to get some nice warmth. Through trial and error, I've found that a -15dB master limiter seems to keep the levels more or less in check without totally saturating sections with lots of energy, but still allows you to hit the noise ceiling depending on how you submix
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Dec 12, 2017 22:44
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I would like to buy a new microphone. I've had this one for about a decade. I really don't wanna spend a lot of money, i just want my voice to stop getting so badly condensed unfortunately i think thats why good ones cost a lot of money.. any recommendations? do i go to ebay?
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Dec 13, 2017 02:47
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