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Quality is a top priority, on all playback systems. I have yet to see anyone here with my view that a great mix should translate to every speaker and sound really good on all of them, even if it means your mix in the treated studio with flat monitors has to suffer for it. Ns10's are popular so I...

Flat monitoring is overrated, get the flattest speaker in the flattest room and your mixes are still gonna suck unless you take it seriously, you're still going to need to reference a lot then take it out to playback on other speakers. Use reference software to make your headphones dead flat...

Oh yeah, you're not hitting a loud mix because of master buss compression or limiting. the mix needs to be really good and transients need to be heavily pushed up into saturation to extend the duration of transients while lowering them for easy punch at lower volume so you already have a...

For me, the line is so blurred between mixing/mastering that I don't even think it's possible for me to master my own music unless I physically bounce down a 2track, if I'm doing work on the master channel it's always just part of the mixing process. I couldn't bring myself to bouncing down a...

absolutely, the analyzer is useless in that regard. So the analyzer might suggest to me to try for some extra 300hz on a vocal or lead guitar, because I see a nice dip there in the rhythm section and it sounds pretty good and my vocal or lead guitar might be a little thin sounding so I boost it...

100% It's gotta be used with good judgement along with ears in that instance. If the analyzer is telling you your mix is bright enough and your ears are telling you that it doesn't sound bright enough though..... I have learned time and time again that I really need to be trusting the...

I would be screwed without it. sometimes my ears tell me that my mix is not bright enough but the analyzer is telling me its fine. i literally have to ignore what my ears are telling me and trust my eyes. when listening to the mix again in the morning its all good! luckily i can get frequency...

Next time you mix have a look at the waveforms and address any crazy spikes, clip gain them down or even use a limiter as the first in chain as long as it does not make that particular transients note boom out (you might bring in far too much of the notes body in a quick instant). When you have...

I guess I wouldn't attack your kind of mixes in the same way as mine. I pan mono reverbs all over the place quite often. I am working on a track with a couple of lead guitars interplaying with each other and they are panned about 50% left and right, so I have a couple of mono reverbs sent from...

Hey Rob, by far the biggest reason I would use a mono track is so I don't accidently turn my mono centerd recording into a confusing stereo image. If I want to place something into the mix I want to be using a mono reverb on a mono recording to emulate a mic being pulled further away from the...

Yeah, if I made something too wide and I decide I want it back mono, some plugins don't switch back to mono properly and I literally need to load a new mono plugin in just under it then quickly copy the settings, then remove the old stereo plugin. But it doesn't happen very often at all and most...

1, no definitely not, keep it mono, then pan wherever you want. To prove the point, solo your track and pan hard left, notice your master has nothing coming out of the right channel and it's all on the left? 2, You're lucky, a lot of 3rd party plugins I've used in the past don't switch when I...

I really appreciate that explanation, I was never any good with the technical side. Lack of outboard gear means I've never had to worry too much. I kind of had the 1meg impedance for guitar in my thoughts, and there is something about making sure it is either at least 10x greater or smaller when...

It's any differences in the mics, it could be timing, it could be what frequencies the mics pick up. You're aiming for a 0ms difference in timing ideally to keep the mics in phase. The mics have to be quite far apart for there to be a 1ms timing difference seeing as sound travels 34cm per...

That switch only has 2 positions? And one of them is Mic/Line meaning that either mic or line level sources can be plugged into it? Makes no sense to me. I'm interested in this because I have a little hardware unit that can accept Line or Mic level signal by using the same Jack input, there is...

Just Fabfilter ProQ2 or Q3 on the master, it's probably the best analyzer, I use that over ADPTR Metric A/B (which is a fantastic referencing tool still, but it shines elsewhere) The added bonus is that you can see buildups in the low end probably and make a quick cut on the master to see how...

Cut it out and crossfade back, or steal the bass note from another part of the song and carefully crossfade that in. I use logic and I can pencil draw it out in audio editor. There are plugins that can take pops and clicks out like Izotope de-click. But just do it manually if possible, senseless...

No worries. I don't know anything about Tascams, I was under the assumption you was working within a DAW and you had 2 identical guitar tracks. My suggestion was just to confirm without a doubt that the 2 tracks are identical because if they are, if you was to flip the phase on one of the...

Keep them panned dead center and flip the phase on one, if you hear silence, you're imagining it.

I'd only use the stereo knob for lead guitars panned center Track twice for rhythm guitars if possible. That stereo knob isn't going to give you anywhere near as good sound as tracking twice (for rhythms that is). For leads when you collapse to mono or listen on a mono device it won't matter...