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  1. It probably will not work after 12months or something anyway, few windows updates and then boom becuase they are not supporting the free version and it will not be available for download So once it stops working, that is it..... you will then have to take your pick of what software you get regarding one off costs or monthly plan etc the whole industry is going this way due to plugin support etc
  2. Maybe try that Fet 47, that's the only one i got on with in my friends studio maybe becuase i am use to my mics but given and man or woman's preferred key , tone and style comes into play, look MJ always used a Shure SM7B and Shure Unisphere 565 like Freddie Mercury and that had some crazy range. You also have A C414 was also used on Stings "Every Breath You Take" vocal with minimal circuitry and it's gorgeous. I thnk people go mad on price these days
  3. Weird you say this , i used my friends Telefunken tf 11 he got for under £1000 and was missing so much warmth compared to my £200 e865 Sennheiser which i prefer using than my Shure KSM44A but i still like my Shure SM7B rip off lol He rates his AKG C414 XLII and United Studio Technologies FET47 but i think the money was confusing his ears but maybe the Fet47 i would get use to
  4. Was just playing with the track in OBS unfortunately the vocalist can not do until next year and i am booked until after the new year to do any more production. I did do a little 2 min midnight jam that i might post
  5. Looks like she can not sing until new year and i was so looking forward, it probably will totally change the track and put her on spin on it. However im writing a nice Midnight Show track, its give you the jazz smokey room vibe
  6. Interesting so if you record at 16/24/36 bit and 44/48/96 Khz etc could cause issue with project bit rate and project FILE RENDER SETTINGS therefore, i always record at 24bit/48Khz unless i have to record the spidif at 24/44 either way my projects template is ALWAYS on 24bit/48Khz with the 64bit engine ticked and FILE RENDER at 32bit as you keep bouncing "RENDERING" at 24bit you get loss. Sneaky idea this effects Melodyne sometimes
  7. Yes i test on monitors with & without sub and average headphones but trained my ears to mix on the my cans now
  8. Will do, i will stay away from Dance and give it the James Bond smokey bar vibe
  9. Cheers craig, had an melody idea and started messing with drums for timing, then i picked up guitar and then my bass started looking at me. I think it could go dancy or maybe keep it chilled, when you not thinking it just happens
  10. You are over complicating things, think more simple. 1) before you start, you need to realise you need approx. 6db of headroom for a pre master (master bus). whereby 2) start on the main instrument, me personally and most always start mixing from drum room, i use a drum room patch system to send to a Drum room bus. (more control for DB, EQ and Para Comp) So my drum bus hits -12 on my master bus (Master bus is my subtle mix bus for glue). Then i mix in bass bus, to instrument bus, to vocal bus, backing vocal bus, FX bus, verb and delay bus etc I sent my tracks top to bottom (Project mis template) depending on style of music i maybe take drums to -9 given EDM and POP or alternative you have a fight between vocals and everything else, less sidechaining, gating and duckling less problems. thereby 3) Obviously every time you add a bus to master (audio) you increase your master bus db and decrease your headroom. In the digital world gain staging is not a big deal, if you recorded something and its distorted, gain staging will not save you but a clean recording will. Keeping your headroom is the big deal. Reality why you should only send buses to the master and never send a track to the master. Automate your tracks, so you know what your track peaks are sending to bus. Send them to bus and send bus to master, do this one by one so you are aware what the bus peaks. Example Drum room bus like a said say peaks at -12 db and your bass bus might peak about the same depending on style but two buses at -12db will push your master bus up depending if you sidechaining bass and drums or using limiters etc which is why you would mix maybe top to bottom some sort of order so you can just solo or mute buses to tweak down the line with your mix and headroom. Most off us develop our own style, methods and workflow. Not many use patches, i find them useful, some people send a track to master i never do. You have loads of tracks and that all about organising your work flow with buses and maybe patch's that you can automate You should start on 8 track to become familiar with everything
  11. Midnight_Show_MP3_1.mp3 Had a little mess tonight, i should do something with it....
  12. Messing with OBS linked to Cakewalk on this track https://www.facebook.com/whoisp/videos/652777000311596
  13. Yes i do like a good de-esser ive heard again Fabfilter Pro-DS and why something like RX 10 is a nice bag of tricks for de-esser and fret noise etc Sometimes i use the free versions of TDR Nova and T-De-Esser. I try to set my mics up so i don't get to much ess and there's a fine line with having lots of air and the essssss
  14. i think my phone when crazy with auto correct, this is why i don't like automatic plugins lol
  15. Cheers jack its getting there
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