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I have always hated and still hate radio compression. I miss the receiver in my Jeep Grand Cherokee that had a digital tuner - Several stations in the area had digital counterparts with no additional processing. Like listening to the CD. Oh, it made things sound "even" for sure -- It...

If it's an honestly good-sounding instrument in a good sounding space, very little EQ should be necessary other than mild shaping to taste. That said - When I see a 'pattern' in the corrective EQ, I immediately go to the room or something mechanical with the instrument. Try putting the...

I use one (and various other meters) for calibration purposes and then turn as many as possible off while I'm working. Unless there are clients present. Then I turn them on so they have something to watch (sounds sarcastic, but totally serious).

I'm just here for the popcorn. That track needs some work from the source. :eatpopcorn:

And no one uses them anymore. Or at least, it's exceedingly rare. I last used them on a sound effects collection (where it's actually useful). That's about it.

I don't think I've ever seen "maul-the-band (multi-band) compressor" and "preserving the mix" in the same paragraph. If you're trying to preserve the mix, the last thing you want to do is run it through a multi-band compressor...

And your reference track was arranged, recorded and mixed by professionals with *decades* of experience and then mastered by none other than Greg Calbi. I'm not saying not to have goals -- but it can take literally decades of work and dedication to reach those goals. And the end goal shouldn't...

Last place I had a hand in building from the foundation up, we attached rooms with (4"?) PVC. Simple and effective. Knew that digital was "getting there" but it wasn't quite there yet so didn't know what was going to be dragged through the wall "next month" so we dragged through everything we...

You use what you need to use. You do what the mix tells you to do. These are things you probably did while mixing - and in no small part, why you'll rarely ever find engineers that will master their own mixes.

The easy answer is to bring your mixes to the level that best serves the mixes (especially important for vinyl and high-res versions anyway) and use those for streaming services. And then if you need a "crushed" version for CD (let's be honest here, we're crushing stuff to be louder. It...

I'm with Rich - 350-3.5kHz and a few dB on an upward tilt EQ may help quite a bit.

[1] You're at the mercy of the space. Don't let the acoustics control you. [2] I've found the built-in mics on the Zoom H4N & H4N Pro to be quite capable on their own of picking up "the real" with pretty decent quality. [2b] I've found the preamps to be horrible and noisy. So try both, but...

It's hard to explain, but you'd know it if you heard it. Just basically "hopeless" - Seemingly layers of distortion, layers of crushing dynamics, spectrally trashed. Sounds like there was a compressor and less-than-ideal extreme EQ on everything individually. And probably Ozone (the low end...

Any recording can technically be prepared for release -- But I've turned down more jobs that I can count because there was nothing anyone could do to save it. Occasionally they'll tell me they want it done anyway, but I make sure they have a clear understanding that although I might be able to...

A well-controlled space -- Bigger is almost universally better (closets, unless that closet is rather huge and again - really well-controlled). On the plus side, VO isn't nearly as demanding as an instrumental space. You still need plenty of broadband trapping, but it's much more effective...

Mastering is the creation of the master. It's taking a collection of completed mixes and creating a reasonably cohesive collection from thost mixes. It used to be about changing those mixes as little as humanly possible to work within the physical limitations of the target media. Over the...

And maybe you've seen it before. But I read a lot of posts (not just here) that have issues with "flat" sounding mixes. This is just an "intro" video to a much deeper concept - and this is why studios put so much effort into their space - and this is why mic'ing everything from a foot away...

Ferrite beads on the cables...? I had mad RF issues here at one point and a stack full of ferrite beads took care of basically all of it...

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...