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That's just the intro. Then typically the verse, chorus, etc. Damn near every show tune has one.

Someone already hit what I'd try first -- Headphones. If it's fine in the phones, it's your space. If it's NOT fine in your phones, check your meters (most people here think I hate meters - and headphones - Not true - I just don't use them unless I'm calibrating gear or looking for potential...

I still know some guys with AL 19's in their home listening rooms. Back in the 80's, they popped up in a lot of small theaters also (along with EV Sentry 500's). Ironically, they did sound better than the (also Altec-Lansing) "Voice of the Theater" line IMO.

https://www.amazon.com/WH-1000XM3-Wireless-canceling-Headset-International/dp/B07H2DGZJR/ They come with a cable. That's one of the plusses for broadcast - You can change the cable out when the talent gets up forgetting they're wearing headphones.

Just doubling down on Miroslav -- You'll probably find that most engineers don't master their own mixes. Myriad reasons for that. But at this point, it's fairly obvious from what you're saying that you need to work on your general / mixing chops. The previous step is always more important...

Well, the mic is an EV RE27ND The cans might be Sony 1000's. Opinion? Not Grado (but few are). You're not thinking of choosing headphones based on a photo.............

True story. Long story short, this is digital. Digital has no inherent noise. No doubt - If your front end is sitting at -80 (let's just go with dBFS for all this stuff at the moment) and you're recording at -40, you're going to have more noise. But if you're recording at something more...

A little buss compression is perfectly fine (but I'd highly suggest that it's on the buss very early in the process). Maul-the-band (multi-band) anything is typically a no-no. Rather, if the mix needs such radical processing, there's probably something that should've been done differently in...

Total generalization here -- A limiter limits the dynamic range. Some say that's a ratio of 10:1 or higher, some (me included) find anything more than 3 or 4:1 quite limiting. Brick-wall limiter (infinite ratio) and "maximizers" are in a slightly different category where you're trying to...

That's not exactly how it works... Compressors are *line* level devices. A mic preamp is a *mic* level device. And even if you used it as an insertable device post-gain, if you're compressing to prevent clipping, you're already way (waaaaaaaaaaayyyyy) too hot in the first place.

I'm one of those "mix in mono" types until everything sits pretty well. Just makes it easier (IMO/E) to get the "deep and spacious" down earlier. Make everything sit well in mono, it's going to sit well in stereo 100% of the time. The opposite is (soooooo) not necessarily true.

Sure, you're probably recording way too hot (waaaaaaayyyyy too hot if you're clipping). But sure, you could probably use a SM7b also. :thumbs up:

Well, there's part of the rub. We don't know what's going to be a single or not. That's why each individual tune is delivered independently along with an assembled master file. It's still part of the same project.

If the sound is good, then just stay out of the way.

I'll clear something up also - I'd *process* each tune individually. During the actual creation of the master DDP, they'd be assembled per your specs with the seamless transition. But in the end, you'd have the individual files also.

Tracks are nearly always mastered independently (but typically in the same EDL) and assembly is done after. Otherwise, you can never have the track on its own.

Grab a SM7b or RE20 (borrow one if you can) and bask in the vocal-friendliness.

Amen on "less gain." Good lord, "chunky" and "crunchy" are NOT "fuzzy" and everyone seems to think the pre-gain needs to be all the way up. Then they suck out all the mids. Guitars are damn near *all* mids.

Had an engineer come in once with mixes that were (to this day, a mystery why) *peaking* at -48dBFS. At first, we thought they were "blanks" but you could hear something going on. Hit "N" (Normalize) and there they were. Sounded perfectly fine. Still, he went back and exported everything...

"Zoom Tracks Exclusive" or "Zoom Selected Track" by any chance...? Zoom Submenu