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Imma 7b fan and can hardly recall a time where I wasn't. But the PR40 doesn't suck either. 40 definitely has a bit more top, but I prefer the "smoove" of the 7b.

At risk of sounding like "old guy" here -- Still trying to figure out the fascination with maul-the-band compression during mastering. ESPECIALLY "self-mastering" where I can't even imagine using it. There's sort of a weird conflict with using MBC in mastering -- On one hand, I'd never...

Workflow and bussing is sort of an "as needed - slash - how you work - slash - what you need" thing. Generally speaking, you'd most likely want your limiter & dithering to be the last thing in the chain. Where the end of that chain is might be different for your workflow than it is for mine or...

Just had a long, drawn-out discussion about this last night. [1] Vinyl sounded great because you didn't put something that sounded like crap on vinyl. It's complex, expensive, the signal needs to be "contained" (for lack of a better term) into certain guidelines and parameters based on the...

As far as specifications are concerned in this context, I think that most would argue that a 2dB apparent dynamic range and a long-term -11LUFS is rather "squashed" for bluegrass. But as Jay mentioned, you're not looking for a specification. Personally, I'd argue to turn all that stuff off and...

The things that are missing from trying to use a car stereo inside are [1] THE CAR and [2] WALLS of typical construction. Put your car inside a room and it won't sound nearly the same... Cars have their own set of issues to be sure as far as accuracy and consistency are concerned - But one...

Hope you don't mind if I jump in here -- This goes for every phase of the recording process, not just mastering. I'd MUCH rather have a handful of SM57's and great speakers over having a collection of the greatest mics in the world and a questionable monitoring chain. My abridged "rules" for...

I have a feeling these "unmixed" projects you're comparing to had a limiter or something thrown on the 2-buss. Apparent playback volume is far and away the least of your worries during the mixing phase. Will that volume compare to "commercial" stuff? Certainly not - nor should it. Now if...

"Before mixing" as in individual channels or just putting all the faders up and you're clipping the main buss? Either way -- Most would probably suggest any individual track peak no higher than around -10dBFS. There are plenty who suggest your main buss not peak above -6dBFS, but there's...

I used to do it as kind of a "worst case scenario" (usually concerning poorly managed FM stations) just to see what would stick out and quickly found it to be a great tool to attack things like sibilance, clicks & pops and effects that are too loud (or too quiet) but might have otherwise sounded...

I have eight of those in this room. They were sort of the "icing on the cake" here. If it means anything, I actually found them to work better "normal" in the front of the room (corner to the corner) and "backwards" in the rear (that sounds sexy, but it's not). As in, the flat edge is...

The main limiter is pretty important. I'd argue that the metering is far less important if your monitoring chain is properly calibrated and you're familiar with it - But that's for another day. And these days, there are clients who ask for very specific numbers (I really hope the "loudness...

A lot of people confuse "mastering" with "making it loud" - and while that's a (negligible for the most part) part of the process, it's definitely where that "final volume adjustment" is made. Just to establish that. So now that's out of the way - If there are things that need to be on the...

Another "guy at Guitar Center" doing more harm than good and spreading horribly false information... :facepalm:

Every free plug from Tokyo Dawn Labs -- If you're new, you'll probably find a bit of a learning curve. But their free stuff is better than most of the paid stuff out there.

The problem here is that generally, *everything* sounds good on phones. If something sounds BAD on phones, it's probably the phones or the phone amp or something silly like that. Now getting something that sounds good on phones to sound good on "everything" - That's the trick...

I'm in the "low end sounds weird when wide" club. I've used MS to add "air" to the top, but anything on the sides under - probably 2k - is most likely going to be a cut. But as BSG says, to each their own. And if that's what the mix is asking for, there you go.

Windows Explorer or Mac Finder will give you enough info to tell.

I'd imagine this might get moved to a different section -- Sort of depends on what you prefer. For me, the Samplitude / Sequoia family are the stuff. Others prefer WaveLab or something along those lines. I use Samplitude for the object-based editing factor (along with the normal sort of...

The unit I use is the RTL SDR dongle - Came with everything - I dipole with two sets of whips (one for damn near everything plus a shorty set for really high stuff), antenna lead, extension, antenna mounts -- I think it was $35 USD. A whole lotta fun for $35... Can't find anything on your...