Search results

What I used to do is have the snake from the live room plugged directly into all my preamp inputs. I would select what preamp a mic was connected to by choosing the appropriate channel on the snake. The outputs of the preamps went to the patch bay and were half-normalled to inputs on the...

It won't add like that. Compressing something at 4:1 at a specific threshold at instant attack and release (for discussion purposes), will leave you with a wave that has 1/4 the dynamic range of the original above the threshold. Now, if you take that processed wave and run it through the same...

Realistically, what are you trying to keep from happening? If you are worried about anyone stealing the poems, it really wouldn't make any difference unless the person who took it made money from it. Even then, it just gives the copyright holder the ability to spend eyewatering amounts of...

If the kick is taking up too much space, it is either too loud or the tone of it isn't playing well with some of the other instruments. When you pan something to the center, it is equal loudness in both speakers. If it is a single mixed source, there is no width to reduce. If two instruments...

It depends on what you are mixing for. This used to be a thing when most people listened to music on an AM radio, but now almost every listening situation is stereo, so the mono mix is largely irrelevant.

Yup, if you were starting a studio in 1996, you were using events, ns10s and Alesis Monitor twos. I think I have a set of tweeters for the monitors twos sitting around here somewhere. I stopped using them 20 years ago and moved them to the lounge as TV speakers. I got the Urie's when I was...

The last iteration of my studio, I had Urei 813's and Genelec 1031's I found that if you got the mix to sound essentially the same on both, you had a win. In an earlier iteration, I had the NS-10s in there as well. The difference was too much for me to go back and forth between and they would...

Yes, that is how they used to be used. Like I said, it is an outdated reference. People still have them because they see them in pictures of big old studios and realize that the only thing in the pictures that they can begin to afford are the NS-10s. I found them papery sounding and very...

Speakers sound the same in mono or stereo. The mix changes. Also, NS10s never sounded good. They were used to bring out flaws in a mix that would be exposed on playback systems that largely aren't used anymore. Same with auratones. There was never anything magical about these speakers, they...

Unfortunately, I'm beyond the end of my audio career, so even my Genelec 1031's are outdated. I had ns-10s from 1990 to 2003 and they were only marginally useful when I got them. I haven't looked for budget monitors in a very long time, so I can't offer NY suggestions.

Blackie praying before each show was a much more recent thing than the PMRC. His taking Christianity seriously happened about 20 years later. Which explains songs like F@#k Like a Beast, Sex Drive, Blind in Texas and the Torture Never Stops.

The meters on you daw are measuring peaks. What we hear as volume is more like the average level. The distorted guitars are going to have a higher sustain level compared to its peak level than the clean guitars, which will be very peaky but a much quieter sustain. This is normal. You are...

It's hard to know what good sound looks like. We would really need to hear it to figure out what the issue is. Also, a lot of the spikiness will get smoothed out in the mastering process. Comparing your raw mixes to mastered commercial mixes won't tell you much. Apples and oranges.

Those speakers were a good reference for some of the crappy playback scenarios that were prevalent 30-40 years ago. Just like the auratones studios used to mimic clock radio and TV speakers. People listen to music in much different ways now, so it's kind of an outdated reference.

To me, they were kind of papery sounding. Really concentrated in the mids. Kind of like a hifi clock radio.

Mike Portnoy Jason Bittner Simon Phillips

It depends which decade you are asking about. Mastering to vinyl was mostly about getting the music to fit within the limitations of the record. There was always a tradeoff between low frequencies and loudness and the amount of playing time that could exist on a disk. Then there was adjusting...

Any bass drum mic will give good results, as will the 421. What you might want to think about is what is the di signal lacking, and pick the mic that will accentuate that. For example, if the Amp gives the bass a growl, choose a mic that will capture that well.

It's really just a matter of doing it enough to be comfortable. One thing that messes with some people is that their voice coming out of the monitor doesn't sound like what they are used to hearing. So your brain tries to filter out the "noise" to hear what it is used to. That's one of the...

Why would you do this to yourself for an open mic night? Simply walk in like you own the place, hand the sound guy your music, sing your heart out and bask in the adolation of your fans. Buying equipment and adding setup time is overkill.