Mixing is HARD!
- Thread starter Todzilla
- Start date
miroslav
Cosmic Cowboy
Try using a small graphics pen & tablet instead of a mouse (you can have both hookd up)....much better control, easier on your wrist and even more fun than the mouse! 
I have one hooked up...but since I don't do much volume curve drawing...I don't use it.
I'm more of a trackball and keyboard guy. I have my right hand on the trackball and my left on the keyboard.
If you learn a lot of the keystrokes and shortcuts to use together with the trackball in your other hand instead of just using a mouse and pull-down menus...you can get pretty fast with DAW edits.
I have one hooked up...but since I don't do much volume curve drawing...I don't use it.
I'm more of a trackball and keyboard guy. I have my right hand on the trackball and my left on the keyboard.
If you learn a lot of the keystrokes and shortcuts to use together with the trackball in your other hand instead of just using a mouse and pull-down menus...you can get pretty fast with DAW edits.
SouthSIDE Glen
independentrecording.net
I'm waiting for the inevitable full evolution of the multi-point touch screen, where I can have a nice 50" flat screen laying in front of me and with the push of one virtual button (or voice command) have the virtual layout of any of a given number of famous mixing desks or one of my own custom design displayed in front of me, with faders and knobs and even rubber bands that I can move with my fingers at will.
I'm kind of surprised that it's not on the market yet; the technology is out there.
G.
I'm kind of surprised that it's not on the market yet; the technology is out there.
G.
legionserial
New member
Why not take it one step further and have preset AI pro-engineer-bots built into the software? Then the user could have robo-Andy Wallace or robo-SouthSIDE Glen mix their stuff. That way you could just sit back and rake in a packet on the rights to your virtual likeness.
SouthSIDE Glen
independentrecording.net
Software companies would go bankrupt trying to sell SSG software. Besides, the Russian mafia would just come up with a Gerg virus to DOS the application.Why not take it one step further and have preset AI pro-engineer-bots built into the software? Then the user could have robo-Andy Wallace or robo-SouthSIDE Glen mix their stuff. That way you could just sit back and rake in a packet on the rights to your virtual likeness.
.Seriously, though, don't doubt that the kind of thing you describe will be here sooner than you might think. Just select the auto-mix preset with the name of the producer of your choice to get a licensed emulation of how that person might mix it (there will be a half-dozen different Alan Parsons presets and a handful of Rick Ruben ones). Of course they will be about as good as amp emulation presets on a Pod.
G.
miroslav
Cosmic Cowboy
Just to reel you guys in...back to reality...
I'm curious how you handle "dead space" in tracks with the "rubber band" approach?
IOW...during tracking of say, lead guitar...there will be lots of dead space between licks or between lead guitar sections, and some of that dead space may be contributing unnecessary noise to the total mix.
Do you slice those sections out and delete them or do you leave them and then use the rubber bands to pull down the level of those sections so they are not audible in the mix?
In my level adjustment approach above...I've usually sliced and deleted out those "dead space" sections. It's often one of the first steps in my edit process, to clean up the tracks of useless information, so the only pieces/sections that I'm adjusting levels for are the ones that need it, and that's the reason I think my way is less "cluttered" [to me]...
...but it's all in how you look at it.
That's the nice thing about DAWs...everyone can pick the tools they like, as there is always more than one way to do something. My DAW (Samplitude) has tools I've never found a purpose for. I mean, yeah, they serve a purpose, but I'm doing that same thing some other way, using some other tool.
Yeah...the best thing about digital audio and DAWs are the editing capabilities...IMO!
I'm curious how you handle "dead space" in tracks with the "rubber band" approach?
IOW...during tracking of say, lead guitar...there will be lots of dead space between licks or between lead guitar sections, and some of that dead space may be contributing unnecessary noise to the total mix.
Do you slice those sections out and delete them or do you leave them and then use the rubber bands to pull down the level of those sections so they are not audible in the mix?
In my level adjustment approach above...I've usually sliced and deleted out those "dead space" sections. It's often one of the first steps in my edit process, to clean up the tracks of useless information, so the only pieces/sections that I'm adjusting levels for are the ones that need it, and that's the reason I think my way is less "cluttered" [to me]...
...but it's all in how you look at it.
That's the nice thing about DAWs...everyone can pick the tools they like, as there is always more than one way to do something. My DAW (Samplitude) has tools I've never found a purpose for. I mean, yeah, they serve a purpose, but I'm doing that same thing some other way, using some other tool.
Yeah...the best thing about digital audio and DAWs are the editing capabilities...IMO!
I do the cut and manually pull down volume method. I hardly ever automate for volume. Like say I want a lead gtr lick to sit under the verses, but jump out more during the actual "solo". I'll set the fader where I want it for the loudest lead part, and then snip and drop the other sections manually. It's pretty easy for me, and easier on the computer. I'd rather do that than automate. I'll sometimes automate effects. Like if I want to virtually twiddle the rate knob on a phaser plug just in one passage.
SouthSIDE Glen
independentrecording.net
With the standard fader gain rubber band in most DAWs, I'll drag it down. If I'm using Nuendo, however, it has a Mute Automation strip separate from the gain automation strip, and in tracks where there's a *lot* of dead space, I may just use that at the start to mute out all the dead space. Six of one, half dozen of the other; depends on my mood that day as much as anything else
.That's the story of Nuendo; the great thing about it is that it does *everything* in almost any way possible, the lousy thing about it is that it does *everything* in almost every way possible.
G.