Richard Monroe
Well-known member
Whoa baby! I won't muddy up this technobabble fest or attempt a misguided hijacking- just an insert. If you *aren't* an audio engineer (like me), what have you gotten out of all of this?
1. There are different reference scales to determine what db means in different contexts. We of the non-engineer persuasion know that we don't have a clue what they are, or what they mean. But it's good to know they exist-more research.
2. We all use reference points in recording to avoid clipping. Compression or limiting may or may not be used, either in the tracking, mixing, or mastering process, either as an effect, or simply for dynamic control.
3. Clipping, even brief, has an effect on the transfer of digital data, and this has come into conflict with the desire to preserve all digital data, and the endless pursuit of loud finished tracks. This conflict has increased the use of compression and limiting in modern recording. Many engineers believe it has become overdone and detrimental. Many use dynamic fx going in, as in the preset limiters on remote recording devices, and others believe it is often better used by mixing and mastering engineers with sophisticated tools for analyzing and modifying the sound. Of course, the non-engineers don't know much about spectral analyzers. Most of us don't have an oscilliscope.
What do *I* get out of it? (I'm not sure whether I place my hand on the bible, or just make the boy scout sign) - I am happy that nice mixing and mastering engineers can make my music as loud as it needs to be. I will use light compression on vocals and let the damn bass player do most of what he wants. Compression will be used only to soften dynamic transients in tracking, or as an effect (that bass player). The limiter will not be necessary (except with live remote recording- all right- it is what it is.) I will never come even scary close to the 0db indicator while tracking, regardless of its reference scale, and the red clip light will never be seen on any indicator in the signal chain. I will produce clean tracks with a low noise floor, and a good signal to noise ratio, and let the people who have posted above, or people like them, mess with my nice clean tracks. They will love me for the low noise and bone dry, no EQ/FX tracks I send them. And I will try to remember at all times, that engineering, like religion and science, doesn't promote agreement. The posters above have different techniques, and like the recording artists most of them are or were, they don't agree on what sounds good. I need mixing and mastering engineers that like what I like. It probably won't be loud. I'll sit up nights worrying about that. So help me, Herne.-Richie
1. There are different reference scales to determine what db means in different contexts. We of the non-engineer persuasion know that we don't have a clue what they are, or what they mean. But it's good to know they exist-more research.
2. We all use reference points in recording to avoid clipping. Compression or limiting may or may not be used, either in the tracking, mixing, or mastering process, either as an effect, or simply for dynamic control.
3. Clipping, even brief, has an effect on the transfer of digital data, and this has come into conflict with the desire to preserve all digital data, and the endless pursuit of loud finished tracks. This conflict has increased the use of compression and limiting in modern recording. Many engineers believe it has become overdone and detrimental. Many use dynamic fx going in, as in the preset limiters on remote recording devices, and others believe it is often better used by mixing and mastering engineers with sophisticated tools for analyzing and modifying the sound. Of course, the non-engineers don't know much about spectral analyzers. Most of us don't have an oscilliscope.
What do *I* get out of it? (I'm not sure whether I place my hand on the bible, or just make the boy scout sign) - I am happy that nice mixing and mastering engineers can make my music as loud as it needs to be. I will use light compression on vocals and let the damn bass player do most of what he wants. Compression will be used only to soften dynamic transients in tracking, or as an effect (that bass player). The limiter will not be necessary (except with live remote recording- all right- it is what it is.) I will never come even scary close to the 0db indicator while tracking, regardless of its reference scale, and the red clip light will never be seen on any indicator in the signal chain. I will produce clean tracks with a low noise floor, and a good signal to noise ratio, and let the people who have posted above, or people like them, mess with my nice clean tracks. They will love me for the low noise and bone dry, no EQ/FX tracks I send them. And I will try to remember at all times, that engineering, like religion and science, doesn't promote agreement. The posters above have different techniques, and like the recording artists most of them are or were, they don't agree on what sounds good. I need mixing and mastering engineers that like what I like. It probably won't be loud. I'll sit up nights worrying about that. So help me, Herne.-Richie
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