whoisp

Cheers Nigel, means a lot from the quality you put out, i love tinkering, im trying to get this lady on a track, she shy but great voice going to waste

Its good for tail ends with verb or delay on vocals and great for any type of transition from Verse to chorus or breaks.

Automation is king for so much

Cheers Kevin, not normally my thing, but i keep my eye on school boy team and playing with EDM type vibe is really opening up ideas and helping me with my cakewalk project template, my track and bus templates. Plus ive been using patches in various ways with gate ducking, sidechain and parallel compression to then send to buses. Patches are powerful to do various things

haha i be happy if the players played it in the gym

Cheers Mark

Thank you for your comment. Yes, i tested it on Samsung phone speaker, the kick is hard to hear in parts on phone, my phone ear buds pretty good though with flat. I test on my old monitors with sub on/off, Sony studio cans, ear buds and expensive beats which blow my ears off. If you get very busy round a kick you normally have to sacrifice somewhere or its just a constant kick which dance, trance and techno people like but its sort off alternative sound track so i made a compromise and sort of works i think

Yes i know not many are football fans but iv'e been a Leeds lad since a kid and did this track for my 50yrs anniversary. If you ever went to a Leeds match and hear the crowd sing, i don't think there is one music producer, musician or music enthusiast that doesn't get chills down their spine the first time you go to Elland Rd. Anyway i mixed it up with EDM and Guitar. Was a project to update my templates which I'm still doing. The sidechain ducking is close, had fun with gating and the parallel compression. I could have tweaked more but where do you stop? I slammed the bass guitar so it was more blended and didn’t stick out too much which did jeopardise my dynamics and low end glue. I was touch and go with the guitar, I sat it in and it lost its flavour, so rolled stuff back. I did have a a drum kit, so I always get particular with Kick and snap in the snare. I wanted the snare/synth/guitar to dominate loudness to get a high energy and drama. The vocals I could have sat them in a tad with some saturation or comp but I cut the low end for them to cut through even with some ducking (sacrifice) cut much low which unglued a tad. I just got the master in the ball park but happy in general considering i still updating templates so probably do another EDM mixed type track

Very true Alan, the reality is i record through an old studio unit which goes through my audio interface "Spdif". The direct input on Guitar, Bass or Vocal is just not the same if i go direct into the Audio interface and bypass my old unit. The unit does have Neve 1073 Pre-amp EQ type collection with rack60/vintage/D Comp limiter and a noise gate which are all perfect for recording with the bonus of no latency. Its perfect for my little setup, i pop over to my friends studios from time to time and he is always impressed at the recordings it produces. In reality it is a hybrid type setup for recording so i100% agree with what you are saying, the only thing i don't record is drums.

True, its all about the sound you want, some people like country music at the end of the day lol

Can't you achieve that with todays modern Plugins? Software DPS emus can get any sound you want now with ease. The problem with all the old analogue equipment is it is never consistent from one day to the next. Everything is done in the box these days unless you are really using them for the recording side. I do have the Softube tape emulators and unless you specially want that sound are you maybe adding something you don't need? I thnik the audio nterface is the bast bit of kit these days, although i do myself go through a old Boss FX unit with emulators lol but it does have good vocal, guitar and bass comp with some good preamps and cabs, well the saturation etc is also good

Very true, it takes time to master your mix, only you know how your music should sound in reality and I'm like you7, i don't like my voce haha Then you have your mix bus and mastering afterwards which all effect each other. How much time you also want to spend on one song, then mix and then master. Yep, thtas a sweet little jezebel right there haha Iv'e been updating my templates to get my work flow faster and better, however i keep changing my mix bus template which i need to nail down, but different songs, different mix bus. We can ruin a song with too much compression on the mix bus and then make it worse on the master and fool ourselves because its loud. I like a full big wide sound, tight and pumping. When you put too much space in you can loose that, there's not much space in a orchestra. Just having a piano and a vocal is totally different to something with 50 tracks is the reality, so becomes more difficult to mix with that clean sounds with infrequency's fighting. You done, a great job on this mix

I am not sure if i am doing the final mix, the vocalist sort of let me down and i moved on to another project and will also do a totally new project with her. She wants me to do a type of EDM because shes heard my new project lol

Yes i smashed the parallel drum bus to shadow the drums to try something, if i mute the para bus on the mix the drums do pop out. i had too much gain reduction on my mix bus though, which was made worse on master, you're 100% right. I was rushing to get it sent to female vocalist, i actually didn't like the song so didn't spend much time on it because she was supposed to do the vocals and i was just messing going with the flow. i reminded myself of a fundamental error and part of the db drop. i dropped the wrong audio in to the UTube video, i dropped the demo MP3 and not the master Wav. i noticed i renamed them wrong way round because i was sending the MP3 to the female vocalist. The bigger error then appeared, Social media videos the top end sibilance goes crazy, you get big massive loss and aliasing, this is due to nyquist theorem with video rate 48Khz sampling and the MP3 was at 44khz which i realised after. i did work for ITV as a tech engineer so i am totally to blame.

Happy new year Tom ? Nice track Rob, liking your voice and your mix and masters are always creamy juicy fornication to my ears lol

Well the female vocalist sent me her stems of the vocals she did, without listening to my vocal idea and direction, she did her own. I was hoping for a work around, change the music a bit or something, however they weren't good enough and i am not spending any time on it. The general gist of the song is their to put a vocal down without titivating. I sent her back my vocals now, to see if it helps her but iv'e been writing couple more tunes away. One for a football team lol

Could of been worse, gig could have been cancelled

they say between 80 and 90 SLR listening loudness on your system for testing with bass against your mix, so you can ear it all and not just turning things. You listen to it loud you will here the bass, then you turn it down and can hear no bass, getting that balance for sure on speakers

So if you are with DistroKid don't tick YouTube Music because you can't claim the license fee if someone users your music unless you pay them. Also on your youtube channel, you have to have over 1000 followers with so many views for YouTube Monetization direct and it still is not straightforward. I was using a company called Songtradr that collect revenue from music being used on YouTube and other platforms but when YouTube change terms it all stopped with Youtube and DistroKid over ruled Songtradr because i didn't untick the box. This is nutz, because if you don't tick the box, your music is not on youtube to collect fees, so its a oxymoron. These digital companies appear to be a law unto themselves. I would now have to deleted my songs form DistroKid and add them back without the box ticked (so would be on YouTube) or you pay $4.95/yr + 20% of YouTube ad revenue from matches they detect depening on your subscribers etc Channel Subscribers / License Cost 1k - 100k / $9.99 per license 100k - 500k / $24.99 500k - 5m / $39.99 5m+ / $74.99 Per YouTube’s requirement, this Monetization opportunity became exclusive, which means that participants should only consider opting in music that is not currently represented in the YouTube Content ID system by another administrative party. So i had Songtradr collecting and now DistroKid have overruled because i ticked the box. Its only a few pound's a month but it paid for my guitar strings, coffee and a free box of NHS condoms rock@n@Roll

SAme here, the reason i posted it because i always mix on a old pair of Sony MDR 7506 with some studio beats and normal Bluetooth headset when i walk the dogs to test on, Bluetooth headset are the perfect test. My monitors and bass bin, i do a quick test depending on what music im doing... I know you can't here the cross over with headphones but you can tell if its a problem with headphones on to take them off and check

I am sure he's talking about mixing drinks with airpods on ? Zakk Cervini is probably one of the current top heavy rock and mental American record producer, vocal producer, songwriter, and go to mixing engineer for people like Limp Bizkit and Blink-182 with his roots in hardcore punk. I was listening to his interview that he mixers on cans and 70% time on AIRPODS becvu8ase of the clarify in the mid range. Appears more and more top producers and mixing engineers are using cans all the time and test on monitors, maybe because majority of people listen with headphones on phones

Personal preference with Compressors, i don't use the SSL and i limit myself with cost every year but keep meaning to try it, i was tempted but there is so much name dropping with gear these days and i needed some hardware this year. I do like the CW Stock 76, 2A and the 4K which i use on certain tracks and buses but i use the Drawer 1973 on the mix bus with no gain reduction, like you say just touching with my vintage tube depending on style of track, i even used the CW boost11 with no reduction, it as a nice vibe like the Initial clipper with positive and negative saturation, that's a great free clipper what you don't clip to get texture out of it. I am old school, using the mvMeter2 even though i have levels, You lean and ozone 9 I run a mastering bus what i flick between from the mix bus output to check, its the way ive always done it, helps me produce and mix, not just master. Ive been using the RareSE which is free version of the Pultec EQP1A with the Sonitus Multiband haha which i find surprising good, i normally get better results with it, i think I'm just use to the stock or prefer the sound, i got so much i don't use. i like the Drawer 1973 to push or pump, i sometimes dabble with other comp, i ahev a few depending on low, mid or high end, sometimes i even put the Nova on for top end and always ozone 9 at the end to find tune eq and Multimaximizer. Still learning, depending on how complicated the mix is and sidechaining with patching etc

Spot on Gary, professional mix and master, nice feeling to it, i don't ear any real problem with it. Personally, i feel people can be to ***** with mastering and when someone listens to it depending on what system they have for playback, they can also get it wrong. What are their EQ settings, are they on flat or their preference and on a monitor or cans etc Obviously, if you have a paying customers you want it to be pretty much on it. i running flat EQ and both cans and monitor De-Esser maybe a tiny bit more on the mix not master on the end of odd sentence i hear but i would automate some of those or cut them out, you can loose to much if you De-S everything or on master and its a fine line between having air and no life, your cymbals are not over sibilance on my system, just the odd vocal touch up but not bad, better than most. Iv' e been going to a studio quite a bit for some mix and mastering tips, freind is the same engineer for both. I did work for ITV yrs ago on pre and post production, so got to go to many a studio and live broadcasts, so i know how ***** some can be but how wrong they can get it. I sent my friend a "demo" he said the top end was tad to bright, yeh his EQ was was adding 3db for 7 to 20 KHZ. So it was only a demo and he was adding 3db haha probably because they mess with setting all the time and forget... He was on demo mix and was on about the 20the mix , i just thought that was crazy for a demo. He said, he's even done a mix what took nearly 100 mixes. I guess he enjoys mixing or gets paid by the hour, but that blow my mind. If i am not in the ball park after a few mixers, then i will never be. I never go over 10 is my rule and i normally do a master half way through as a demo for a marker because our ears can deceive us mixing to long or listening to same song to long. It's like the old analogue can sound different one day to the next but DSP is always the same so, look out from low end, mid and high which is normally caused in the mix, why i run off a master half way through. The God Particle sounds interesting, i got put off all the plugins, many seem to be quite a gimmick since i been testing demos against stock/. A compressors is a compressor as Scheps would say, you just want consistency which DPS is. i only use stock, the 76 is decent with good low end and PC-4K is great on the bus with good sidechain but can take some low end out but the Sonitus you keep the low. Iv'e match these against expensive plugin compressors and there really isn't any difference but i guess its personal preference and easy of use etc

Sold His Neve and mixes totally in the box so was probably on his crossover to DSP

Saying that, Andrew Scheps his quite heavy on the mix buss processing, he users about 10 plugins, then you have some engineers use compression etcon every single track to preserve dynamics and not do to much on the master mix bus. I guess system power as something to say. Iv'e always been reluctant to put too much on the mix-bus but Scheps got me thinking lol