Search results

That "foam" isn't doing you any favors. It's literally absorbing what your recordings are lacking ("air") and leaving the boxiness (which all makes sense now because of the proximity to the wall). I revert to my previous statement -- Lose the drywall, fill with the heaviest weight (or rigid)...

Closets generally make horrible recording spaces (except in the movies). The only time (okay, there were several) I was able to turn a "closet" into something resembling a vocal booth, I had the drywall completely removed, the studs filled with massive (no pun intended - we're talking kilograms...

[1] A better vocalist with decent mic technique. [2] Parallel compression (which Steve is talking about) can be a life-saver for out-of-control vocalists (can be a copy but with many DAWs that are sample-accurate, can be done using an aux send also). [3] Ladies and gentlemen - The LA2A...

What they're getting at is that basically EVERY stereo mix will have elements that are out of phase to some extent. If you take two identical sounds, pan one left and one right, you will have what sounds like one sound coming from the middle. It's the DIFFERENCE between the left and the right...

Don't follow meters. Follow your ears. You should know if there are phase problems - the meter doesn't. ALL stereo mixes will have a sum and a difference. This can be a nice, natural or even exaggeratedly wide sounding spread, or it can be a serious problem. The meter won't tell you which...

Just goes to show what I've been yelling about for decades. The "loudness war" is and has always been a pissing contest between bands and labels and (I just posted about this in another post) I can't believe that the streaming services are the bleeding edge of the sword that might actually put...

As astonished as I still am about the whole thing, I'm still finding it hard to believe that the streaming services are actually putting a (rather impressive) dent in the loudness war. Don't get me wrong - I'm happy as hell about it. I just never would have expected the source. We're almost...

First thing I would do in this case is "Save As" and start experimenting. See if there's a "kill all active plugins" or something of the like and see if everything just pops into place. Maybe there's a hidden plug of some sort on the main buss...? A delay setting on the main buss that doesn't...

WE'RE NOT TALKING ABOUT THE GUITARS HERE. Pan your guitars however you want. We're talking about having *NOTHING* in the center. That Envy tune - It sounds perfectly fine. The guitars are wide, which is fine if that's what you're going for. But THE REST OF THE MIX IS ANCHORED. Listen to...

That's basically it. Might be off by degrees or milliseconds, but that's what it sounds like to me.

I'm saying that basically the entire mix, everything in it, is around 90 degrees out of phase with itself in relation to the other side. The sum literally sounds the same as the difference. The drums, the bass, the guitars, everything. There may be typical stereo information in there -- but...

The Haas effect is sort of a time-based stereo exaggeration. Where you can take a mono source and make it sound like a stereo source by delaying (and usually messing with spectrally) one side. You can use it on a stereo source (I mentioned earlier delaying one room mic to mimic a much wider...

Okay - The distortion on on the AI guys. The Haas filter is on you -- You have your drums (all of them, from what I can tell) going through some sort of Haas / delay that's wrecking the phase, especially on the low end. It's something you can get away with on overheads / room mics to some...

[1] It's really difficult to judge this sort of thing without hearing the original track. [2] They both have really, really severe phase issues in the low end -- This is why it's difficult to judge without hearing the original track - It's hard to get past that without knowing if it was in the...

Adding an additional layer (or two) of drywall is pretty effective, but if you're renting, you may come up against a certain level of resistance. Reasonably decent even with lower frequencies - But still, only "some" help.

Echoing Rob to some extent here -- EQ'ing... You EQ what needs to be EQ'd to best serve the mix (and the way it needs to be EQ'd to best serve the mix which in many cases, isn't what seems natural to the source). Compressing the kick and snare can *stop them* from cutting through -- You're -...

I'm going to throw in little answers that don't sound like answers but will make sense over time. First and foremost -- And I'm only saying this because of the "new to this" part along with the school part (as there are schools that don't seem to understand this basic premise). Mastering is...

You want your head to be 7'8" from the short wall (that's .38 the length of the room) and on the low side (which if I read correctly, you already are). This might just be me -- But assuming your speakers are directly in line with or slightly lower than your ears and tilted ever so slightly...

In the grand scheme, a music producer can be likened to a film director. He's presented with a project and has the "finished mixes" in his head. Then he chooses the studios and engineers, usually has some say on the core sounds, possibly instrumentation and arrangement, whatever it takes to...

Didn't really know where to post this so I figured this was the best place. So I'd imagine most here know that I'm a mastering guy. I'm also a long-time radio enthusiast with various band licenses going all the way back to the 11m Citizen's Band back when you needed a license for that band...