To all you producers... step ya professionalism up!

  • Thread starter Thread starter Change of POETS
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I totally agree you alway'z gotta keep your Accapellas. I try to keep all my Accapellas in case I wanna mix it down or remix the song with another beat.
 
well i tried doing the 24/96 with a test beat and song (beat converted and vox recorded at 24/96) and it didn't give me too much trouble in cubase sx3...now i understand also where you coming from in the plug-in department...

would going to 32 bit from 24 make a difference more than going from 44.1 to 96?

or idealy going 24/44.1 is the best for going CD's or would 32/44.1 be even better for recording the vocals if PC handles it?
 
So you want to go from 24 to 32/96K? I tried 32 bit to 24 bit and there's not much difference to the ear. So I stay at 24 bit 44.1K. 24 bit sould be just enough since the ear only hears 20 to 20,000 Hz anyway. Now, 48K and the higher you go gives more bandwidth on the lows for example. But, I only go to CD so I keep it simple...

I tried converting my 16/44.1K mixes to 24/96K and then back to CD to see the quality. There's some change. But, to me it made the highs go down from converting. When you convert like this, you actually loose data. Cause from 24/44.1 to 32/96K, the computer has to write data in between the sample data to fill it in.

http://www.trueaudio.com/images/abt_fig_01.gif

Look at how the human voice has less frequencies.
 
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What i meant was recording the vocals at those settings...but yeah i get your point of why record at this super high quality when you are gonna take it down to 16/44.1 anyways...

After the track is completed i should "dither" it down to 16/44.1? and then burn right? is it a very bad idea to let your recording software do the converting to 16/44.1 from 24/44.1?
 
Yes you should dither, instead of truncating the file. Dithering should be done as the very final step. And if you send it out to get mastered, it would be better to check with the mastering engineer to see what bit depth he prefers. Most likely he won't want you to dither at all. About recording to 32bits, recording at 32bits will give you a little room for error when trying to max out your channel strip.
 
I agree to some length here...I sure as hell won't have my beats sound shitty just cause I sold them to someone that doesn't know jack about mixin' my beats. I don't shell out indi. tracks for the simple reason that I don't trust anyone to ride the faders of my beats. You want my shit, you take what I've got, and you trust my skills. Most of the people buying beats doesn't know a frame from a ratio cause they're not skilled in the techniques of production. If it was a major company I would probably hand them the originale file...but with that file comes me...cause I'm gonna be there on the final mix/cut. I don't trust anyone to handle my products.
I've been shocked a few times over the fact that people want the beat in a mp3 format...but hey...they've got the cash, I've got the beat. The mix will be up to my standards, but the mp3 encoding might fuck it up, but atleast I gave away a product with high quality in the first place.

-Nito
 
How are people gonna fix problems of some instrument using the same freq range of their vox? For me it's very important to have the original if im doing anything that's worth recording.
 
92_ said:
I agree to some length here...I sure as hell won't have my beats sound shitty just cause I sold them to someone that doesn't know jack about mixin' my beats. I don't shell out indi. tracks for the simple reason that I don't trust anyone to ride the faders of my beats. You want my shit, you take what I've got, and you trust my skills. Most of the people buying beats doesn't know a frame from a ratio cause they're not skilled in the techniques of production. If it was a major company I would probably hand them the originale file...but with that file comes me...cause I'm gonna be there on the final mix/cut. I don't trust anyone to handle my products.
I've been shocked a few times over the fact that people want the beat in a mp3 format...but hey...they've got the cash, I've got the beat. The mix will be up to my standards, but the mp3 encoding might fuck it up, but atleast I gave away a product with high quality in the first place.

-Nito
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Then you can count on many artists, like myself, to never work with you.

Regardless of the fact that I run a business as a Tracking/Mixing/Mastering engineer, the professional way to work is what was previously stated.

I've had SO many producers send me beats they said were "professionaly mixed" which sounded like complete crap, because they don't have a clue about mixing.

You can stick to your guns on it, but to assume that you're the only indie person who can make a professional product is assanine, and will severely limit the amount of people willing to work with you.
 
i would have to agree with change, man. since im still in the beginning processes of beatmaking(just creating and building up a catalougue of beats) i haven't had to deal with this yet but im definately gonna give them all the tracks they need to not just make them look good, but myself as well. Who knows the MC might suck to all hell, but they might like the beat and hit you up and all because he took it to an engineer to clean up the sound. In the end man, your product must be the best it can be. If you have to have all the files tracked out so they can be mixed properly so be it. Its only gonna make you, the beat maker/producer look better on the MC's mixtape/album/etc.
 
Well, most beats I sell are local. So, normally I do everything in house. The artist gets the beat, records, and it gets mixed. I include all that in a package deal for just a little more. But, that's becuase it's just faster and easy to keep it in house. For selling on the web, I give all the tracks, but pre mixed. Which means I have all the levels on the files as they should be. You just import it and put the faders at 0. You're all set, you can make breakdowns and mix a little. But, everything is ready to go with levels and EQ done. That's how it should be when you buy a beat, everything ready to go. So, I don't worry to much about how the mix will come out. The person will have to do a lot to make it all wrong... What I do when I send all the files is to make sure all the files have the correct name and include terms of use and notes to help in the production process...
 
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I would think that the people buying the beats, songs or whatever would be unhappy not having the seperated tracks. After all they did pay for it. That would be like you buying a car and having the dealership tell you that you can only make left turns in it. Just a thought.
 
Do yall track out every instrument or do yall track out instruments in groups? For example, high frequency sounds, mid frequency sounds, low frequency sounds?
 
I track out ever track in the pattern/song.. which is pretty much each instrument
 
tone_aot said:
Do yall track out every instrument or do yall track out instruments in groups? For example, high frequency sounds, mid frequency sounds, low frequency sounds?
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I only would trak in groups when there is a lack of tracks to record to or a lack of outputs on an device... otherwise like BK I trak everything indivdually...
It just gives you more freedom and control over the mix...

Raticus
 
also make sure All tracks are bounced from the same start point so they align right.
 
What software do yall recommend to mix everything in? I want to buy some new software that will let me mix without being to slow or either i need a new pc with upgradeable ram (I hate Emachines).
 
I use a Akai DPS16 for my recordings and mixing...

you can use a nember of software programs to mix into..depending on you budget..

Cubase SX
Pro Tools LE
Adobe Audition
N-Track
and many others..

hit up http://www.hitsquad.com/smm to demo some of them
 
I got Adobe but i'm very new to it. I'm using to having everything in sync with the grid system on acid pro so i'm finding it hard to edit on that. I'm used to copying and pasting chorus or chopping and screwing beats.
 
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