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Mark Morgon-Shaw

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  1. Not many I imagine. It's like owning a Swiss Army Knife and going to work with a toothpick
  2. To be honest a lot of it sounds better the dated stuff I've heard made in Cakewalk here.
  3. Lol, no I am balding so keeping it buzz cut prevents the combover look
  4. Yeah I should have put this on my list, I always check mixes so you can only just barely hear them. Anything too loud sticks out like a sore thumb
  5. Suunds like a poor man's Auratone ! Good for checking mid range tranlation and balance
  6. There's no one best way to mix because it depends a bunch of other factors, like the room you work in or the style music you make. A few things thing I can share from my experience mixing 100 tracks a year that mostly end up in TV shows for the past 8yrs 1. Doing lots of mixes improves your ear / skills - If you only mix one track a month , try mixing at least one a week for a year. I guarantee the mix from week 52 will be miles better than the mix from week 1 - you will also think your early mixes sounded rubbish and likely be right. 2. You can mix on anything, monitors - cans - buds etc. as long you learn how they translate to other systems. 3. Most bad mixes I hear are as much down to performance issues like timing , tuning etc. so get those right first or it will just sound bad regardless 4. Try to have several monitoring options you can switch between whilst mixing. Nearfields, headphones, boomboxes etc will all tell you something different so it's about being able to understand what each is telling you about the mix 5. Listing in mono is a great free tool for getting your arrangement right as it's easy to hear if instruments are speaking over each other 6. If you're serious then acoustic measurement / treatment is really helpful in taming your mix room, and products like Sonarworks or Arc can really help too 7. If your domestic situation means you have no choice but use headphones I can reccommend Slate VSX which I use late at night and also as a virtual car test. They sound 80-90% like mixing on speakers. 8. If you're in need of some sort of mixing course my own favourite is Mixing Secrets For The Small Studio by Mike Senior because it deals with the reality of mixing in non-professional studio and is very comprehesive.
  7. Or just do the sensible thing and use a desktop in the studio
  8. Or get a laptop with a num pad My current laptop has one, and think the few I've had previous have always had them
  9. Indeed . I've been doing this for years without requiring a CAL script. Select your notes in the PRV, then you can move them around with the arrows keys on the NUM PAD as long as you have NUM LOCK on They can be moved in all directions but if you hold CTRL + 8 ( arrow up ) or 2 (arrow down ) the selected notes will jump up or down by an octave. Pretty sure this is standard procedure but I've been using it for so long I sometimes forget which are regular keybindings and which are things I've changed myself. I have asked multiple times for the ability to do this in theTrack View as it's really handy if you just want to transpose a clip without opening the Process-Transpose Dialogue The closest I have come is I've programmed my Stream Deck with a macro so I can highlight the clip, hit a button ( I have one each for octave up and down ) and it very rapidly opens the dialogue, types in the value and confirms it. It takes a second or so but it can do it much more quickly than I can manually. It will do this for midi or audio clips.
  10. A lot of DAW users use Stream Decks which can be set up with macros
  11. I use Akai VIP ( sadly discontinued but it came free with my midi controller ) which brings all your softsynths into one place and you can quickly browse all the presets from multiple synths from one big centralised GUI. The thing it made me notice , is that when you can 't seen the synths own native interface... they all kinda sound pretty much the same.
  12. Interesting. Did any of you guys pick up the new Sound On Sound ? The article Hardware Vs Plugins of a 48 channel mix? The guy mixed a track on his Neve console with a load of outboard Then he set about recreating the same mix as closely as possible by using an analyser of the hardware EQ curves etc. and re-did the whole thing in the box. TL:DR - the mixes sound very similar The big take away for me though is it was easier to get the mix sounding good on the analogue gear. It had a wider sweet spot and was hard to make anythign sound 'bad' per se. The "in the box mix" took more work and required a better understanding of the plugins to get the same result but at the end of the day it was achieveable. I think this also applies to the argument of different EQ plugins. You can probably get them all to sound pretty close to each other if you know the plugin well and can match the curves etc. But it will likely take you longer. So I choose to use different EQ plugins for different things. 1 - Pro Channel EQ - just to lo pass filter and get rid of rumble etc : Because it's there and low CPU 2.- ProQ 3 - This is my day to day EQ : Because it has a great interface and is like a swiss army knife 3.- API 560 - I prefer this for my drum buss : Because it's a graphic EQ and I find it easier to get the sound I want 4 - Maag EQ4 - For mastering : Because it's got a nice air band and the fixed bands work well to subtle sculpting Could I get the same result just using ProQ3 ? Yes probably, but on certain tasks the others are quicker and easier. Also - I see many posts arguing this EQ , or that compressor plugin ( across various audio/music forums ) and often when I go their profiles and take a listen to their music it's often not very well performed or mixed. i.e. They aren't even outperforming the stock plugins never mind fawning over some percieved esoteric difference provided by an expensive plugin.
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