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If there were, everyone would have them and no one would use properly treated spaces and freakishly accurate and consistent monitoring chains. If I could spend $2500 on a set of cans instead of $25,000 on speakers and treatment, I'd do it in a heartbeat (face it - everyone would). That said -...

I don't mix often anymore, but when I did (and still when I do), it's almost a rule that the more talented the musicians on the way in, the less EQ anything needs on the way out. With most of the better sounding mixes I've ever done, EQ was a subjective choice - not a necessity.

I still start nearly every mix in mono. Ridiculously easier to do corrective EQ when it's messing with everything else. The nice thing about a mix that sounds good in mono is that you're all but guaranteed to sound great panned out. The opposite isn't necessarily true.

It doesn't sound like you're taking up to much of the *stereo* spectrum - It sounds like your kick is taking up too much of the spectrum. If you have an exceptionally "fat" or "tubby" or "overly warm" sounding kick, it's going to fight with literally everything else. The bass, the guitars...

I'd be looking at the input chain... And the source of course...

Word to the peeps in the house. I hang out on a few forums/groups that think it's about "making it really loud" (and don't get it at all).

The backing tracks are easy - The vocal, not necessarily so much. Get your vocal level where you want it and then bring the mix in. One thing for sure - If *you* have the player, volume at 90% or higher (typically, all the way up unless you have a specific reason not to).

As an alternative to staples and glue (especially for thicker stuff) - "T" pins. I'm not sure how they're marketed, but they're pins (probably 1.5" or so) shaped like a "T" that you can press in (to drywall), will hold, won't "squish" the foam and are easily removable. That said -- For the...

It blows my mind to this day that people use additive effects in-line. If I had a single source and I wanted to add reverb (or any time-adjusted effect) to it, it'd be on an aux send. And that send would probably be compressed to some extent, band-passed (pre-effect) almost certainly...

Multi-band (a.k.a. "maul-the-band") compression can be handy occasionally, but it's usually a band-aid for a broken leg. Radio stations, PA systems (any crossover network with compressors is a mult-band compressor and that's exactly how we used to do it back in the day), that sort of thing. My...

I like to think of 2.5kHz as the "ex-girlfriend" frequency. Although I might need to repackage that as the "ex-significant other" frequency™ to keep up with the times.

Higher number = narrower filter. 0.5 is pretty wide, 1 is - well, it's sort of typical I guess. 3-5 is pretty sharp, 10 is more like a notch filter.

If it's a high-pass filter, it's cutting everything below that frequency by (x) dB per octave -- a 6dB filter will be down 6dB around 75Hz, 12dB down by 35Hz, around 18dB by the time you get to subsonics. If it's a shelf, it's affecting everything below that frequency roughly equally. If...

I've always found distance (and a good room of course) is the key to hand percussion. You can get away with a slow dynamic (SM7b, RE20, PR40, etc.) a couple feet away from shakers and rain sticks, maracas, etc. I want to be just about across the room with a pair of condensers for resonant...

I'm confused by this whole thread.

A single master recording should translate over a wide array of devices. Yes, a lot of people will never hear some recordings on a nice quality high-fidelity (I mean actual "high fidelity" not "HiFi") system. But that doesn't mean you should make it sound like crap for everyone else. As far...

I spent several months in a 10x11 room while my current space was being built & outfitted. I stuffed as much broadband trapping in there that I could. I'd like to forget that it ever happened. There were 40dB nulls, 20dB peaks (some less than a foot away from each other). There was a rather...

Just echoing a bunch of stuff (and just about everything Farview said). [A] "Mastering" isn't about "volume" - It's about translation and cohesiveness between a collection of recordings. [2] Realistically speaking, I can't remember the last time there wasn't *some sort* of compression or...

The most important decisions made during the recording process are made before the "RECORD" button is ever pressed. Don't apologize for that.

Coming in late (sorry). First - I am a fan of *SOME* peak limiting in the analog stage - But this would be considered "safety" limiting (just to grab the occasional over). Everything done during the analog phase is typically done at the levels the material is asking for - not necessarily the...