Jump to content

Lord Tim

  • Content Count

  • Joined

  • Last visited

Community Reputation

153 Excellent


About Lord Tim

  • Birthday April 2

Recent Profile Visitors

The recent visitors block is disabled and is not being shown to other users.

  1. Lord Tim

    Forum members /home country ?

    Just south of Sydney, Australia here πŸ‡¦πŸ‡Ί
  2. Lord Tim

    2019.07 Feedback

    It's a tricky one. On one hand I agree - the track is frozen and you're able to manipulate it, cut it up, add effects on the clip level... it's more or less like a standard WAV clip in that sense, so you'd expect it to respect the edits once it's unfrozen. However, if you think about it, this would be a logistical nightmare to do. Imagine you've frozen a drum track - a MIDI track feeding into VSTi. You do all of your edits on the frozen track and then decide that you want to unfreeze it to change the snare sample. What happens to the MIDI data? Does it make new data from scratch or try to extrapolate what you want to do? Or another situation would be freezing something that has a degree of random or externally modified controllers in the effects. That track + effects would be basically locked off in the state they were in when you hit the freeze button. If you unfreeze it, what should the track do with it then? If there was a random element, it would now sound different. I'm sure there's plenty of other better examples than these. The variables you'd need to take into account to make unfrozen tracks respect the edits on their frozen states would be enormous or impossible, so I definitely understand the decision to just go "welp, you froze it at X state, go back to the last thing it did before then."
  3. Lord Tim

    2019.07 Feedback

    Yep, this was always the case. When you unfreeze, it returns the track to the state it was in before you froze it, the side effect of that is any work you've done on the frozen track gets discarded.
  4. Lord Tim

    2019.07 Feedback

    For editing, I agree - I can see this being super handy! I'm looking forward to giving it a good spin over the next couple of weeks
  5. Lord Tim

    2019.07 Feedback

    This is one thing I'll be using CbB for very soon too - all live backing tracks and monitor routing to be set up and controlled inside CbB. Bumping a touchpad could spell disaster. I do like the feature though, it makes complete sense and I could see myself using it a lot, but it would be great to have it optional or keybindable.
  6. Lord Tim

    My wife passed away

    Ah man, only just seeing this thread. Really sorry to hear that, Ken.
  7. Wow, I actually grew a beard before I got to the end of that huge list of fixes and enhancements - that's crazy! 😐 Keen to give this a go when I get a free moment. Top work, guys!
  8. Lord Tim


    Absolutely THIS. As I said, mine are in soffits with tuned wall cavities, etc. and they sound great. Out in the open... yeah, I've been with people who have had them just sit on a desk, and they were really hit and miss with both frequencies and image smearing. In some cases, like you said, they sounded fine, but you just couldn't really trust what you were hearing. You definitely lucked out with the longevity of them though. I actually think a lot of Behringer gear isn't really bad at all, sound wise - especially for the price. But the build quality is the thing that lets it down. You can luck out on having something be a workhorse for years, but then the next guy gets the same item and it fails in a few months.
  9. Lord Tim


    I've got a pair of 2031As here. They're built into sofits and sound pretty good with how they're installed and the balanced room taken into consideration. However, I've already had one set fail on me after a few years and the second set are starting to show some of the same symptoms. For anyone here still after something in the short-term that can potentially sound really good depending on how they're installed in your space, they're great. But as a long-term investment, I'd avoid them.
  10. Lord Tim

    Hum In Monitors

    Could it be the monitors themselves failing? That seems to be the one variable you haven't been able to test.
  11. Lord Tim

    Mixing 101 - very basic questions

    Don't be scared to run multiple reverbs on things too. Like, for example, having your general 2 second decay reverb on a vocal, but then also running a really thick 200ms one as well, but much quieter. You won't really hear the short one but it'll add body and a bit of "it's in the room" kind of vibe to the vocal. Typically I'll run just the one reverb, a tempo timed delay and also a stereo slapback delay of less than 100ms quietly under the vocal to thicken it up and add subtle width. Works great on all kinds of lead instruments or voices and doesn't get washy like a reverb would do.
  12. Lord Tim

    Mixing 101 - very basic questions

    A few good questions here! Like others have said, there's really no "proper" way to use reverb or any other effect, really. The end justifies the means. Does it sound how you want it to sound? Great - mission accomplished, end of story! But as for "best" ways to approach things, to make it more streamlined and save CPU, there's a few best practices that you can use. My advice is to set up a good general purpose reverb on an effects buss and set the mix on it to 100% wet. Then, for any track that you want to add reverb to, make a send to that buss and adjust to taste. Be prepared to use far less than you expect, especially on vocals. I usually have backing vocals summed together in some kind of buss or aux track (so set the output of all of those tracks to go to a single point) and add my reverb send on that, rather than doing it to each track individually. Ultimately it sounds more or less the same if you do it this way or on individual tracks, but when it comes time to mix and you go "you know, the Bvox are a bit wet" you don't have to turn down 12 separate effects sends, you just have the one summed track. Multiple reverbs are a can of worms. A lot of seasoned mixers use several different reverb types / lengths to get the sound they want. Sometimes you want that initial slap of a small room, sometimes you want a big washy plate. It's hard to give any advice in general for what to use. I'd suggest that for things in general, keep it simple - if you have a great sounding room reverb, say 1.5 / 2.0 seconds or something, use that us your default reverb send, to get it all in the same space (obviously adjusting send levels for each track going to that reverb, so it's not just everything getting a big wash). The more reverb, the more things are pushed back, so think 3 dimensionally - the things you want up front should have less send to the reverb buss, the things you want pushed back, have them a little more wet. I typically use a different reverb for drums because what sounds good on vocals can tend to sound a little thin if you want to add a good room crack to a snare, for example. Some synths can benefit from either leaving their built-in reverb on there because it's part of the sound, or disabling it and using your global reverb to help it fit into a space, or making an extra "special effects" reverb which may be good for super long tails, that sounds good on strings and pads, or accents on certain words or drum hits. There's really no rules other than understanding *why* you're sending to the reverb. Don't just put reverb on everything just because; ask why you want it on there. Does it need it? How much? What are you going for with this? I tend to use delay on its own buss (100% wet too) rather than combining it with the reverb directly. That way I can control how much or how little I send to it, and do fun tricks like automating its send to go off on single words or hits. A cool trick is to set up a send on the delay buss to go to the reverb buss, so each delay sounds like it's in the space too, rather than it sounding super dry compared to everything else. About the only other tip I can give, besides just being a little careful how much you use overall, is that aside from reverb feeling like it builds up a bit if you have too much everywhere is, it can make the mix sound a little muddy or foggy, especially if you're sending a lot of low frequency stuff or sibilant stuff through it. I'd suggest strapping an EQ over your reverb buss, but BEFORE the reverb plugin, and rolling off both the lows and highs to taste. You'd be surprised at how much you can remove in the low end before it's noticeable in the mix, but it seriously makes a big difference to your mix clarity at the end. Ultimately though, everyone has their own way of working and there's no right or wrong way to do this. Some really great advice posted above too - it should get you on the right track.
  13. Lord Tim

    Smooth out tempo map?

    I could definitely see how a "Smooth Tempo" function would be handy. Imagine dragging a track onto the time ruler and having Melodyne detect the tempo of it. Most of the time it does a pretty good job but sometimes you'll get the odd section where things wildly swing all over the place measure-to-measure if the detection gets a bit iffy. Working out an average between sections would get you to the same place, and eliminate those rogue values, but you have to do it manually like Jono did. Imagine selecting a tempo range in the Tempo View and right-clicking and choosing Smooth Tempo Map and having it essentially take the average of everything between those points, or have logic in there to work out what may be an intentional change. I reckon that' s a good feature request right there!
  14. Lord Tim

    "Watermark" saying "AVS media Demo"

    Yep, THIS. ^^ I always include this in my mastering fee. Doesn't take long but is much more pro and saves a lot of wailing and gnashing of teeth later.
  15. Lord Tim

    How Do You Master an Album?

    Pfft, you can fix all of that stuff in the master - don't let that "actually playing the song" business hold you up! 😁