translation problem

  • Thread starter Thread starter larrye
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larrye

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I am having a problem getting my mixes to translate. I get a mix that I really like, burn it, and then hate how it sounds in my car!

I built my room so it's pretty dead and then flush mounted my speakers. You can see my set up at http://pages.prodigy.net/ltucker45/index.html

I am using Tannoy Proto-Js for monitors, and powering them with a Pioneer stereo amplfier SA-950.

I wonder if the stereo amp is coloring my monitors.

1. How important is the power amp to mixes?
2. What is a good amp for around $200 ?

Any help would be appreciated.

Larrye
 
Have you listenned to reference material to get to know what a good mix should sound like on your monitors? If you simply mix what sounds the "best" on your monitors, it won't necesarily sound right on something else. You have to mix what sounds "right" on your monitors. The only way to do that is to find out what "right" is on them.
 
This is a big frustration to me too. In general and if life were perfect, you should mix on more than one set of speakers, and get to a mix that sounds decent on both sets of speakers. My mixes often sound bass heavy on my studio monitors, but thin in the car. Therefore I'll listen to a mix in the car, determine what frequencies need to be boosted or cut, then remix in the studio. Generally I can achieve a happy medium.

Referencing your monitors will help, and of course a consumer amp will color the sound somewhat. But for starters, make sure that the bass and treble controls on your amp are set to flat (or midway).
 
Thanks for the reply, guys.

I do use a ref. track, and also two sets of speakers, proto-js and the stereo speakers. But still poor translation. Maybe my ears are just not good enough. Probably too darn old.

While in the studio my mix sounds almost like the reference disk, when I play it in my car it sounds big time different.

anyway I thought it might be the stereo amp. but I have no idea how much difference a power amp. would make, IF ANY ?????

larrye
 
Sweet setup in the pic.

One little thing, those monitors look a little high. Are they pointed at your head? Near fields need to be pointed right at you and usually head level is preferred. That might be making a small difference in your high frequencies and stereo image.

If you have some bucks to blow on an amp it definately won't hurt and it might solve the problem. It's important that the amp put out an even responce over the entire frequency range at different volumes. Hafler has some good smaller amps in your price range.

What exactly is wrong with your mixes? Is it always the same thing like too much bass? That info will help point out the weaknesses in your monitoring setup.
 
Tex,

the monitors are higher than my head but they are tilted down to
be pointed directly at my ears. I measured them pretty carefully when I installed them.

My mixes just don't seem to have as much body and life in the car as they do in the studio.

Larrye
 
octoruss said:
of course a consumer amp will color the sound somewhat. But for starters, make sure that the bass and treble controls on your amp are set to flat (or midway).
Click to expand...
How can one be 100% sure that "midway" is "flat"?
 
I went to the Tape Op conference earlier this month in Sacramento and we spent some time talking to Wes Lachot (well respected studio designer) at a party afterwards. Three things he said NOT to do in a control room:
1) Don't soffit mount nearfields unless you have a great room.
2) Don't angle speakers down (think about the early reflections coming off your desk).
3) Get rid of that carpet - all it does is kill the high end while doing little else.

I'm not a studio designer myself, but this guy has built some great rooms from what I understand and really knows his stuff. I'd try taking the nearfields out of the wall and putting them on stands and see if your mixes translate differently. Also, what are the dimensions of your room and what have you done to treat it?
 
My mixes just don't seem to have as much body and life in the car as they do in the studio.
Click to expand...

When you say that are you talking about the exact same master or are you comparing the multi track recording to the master? Lifeless masters that don't sound as fresh and the multitracks can caused by a few things:

Direct to disc bounce of mixdowns.
Mixing entirely in the digital realm without good pres during tracking.
Poor sample rate conversion or no dithering.

What is your mixdown and mastering process?
 
Corners

Hi,

What is that in the corner between the monitors? Bass trap? Setting up in the corner is bad juju. You will get poor imaging and even worse bass response. What treatments are in place now? I second the fact that getting the monitors out of the walls will be a big plus. If you can give some more details it will be easier to help.

Kirk
 
my room is about 11.5 ft X 19 ft, the ceiling above the mixing area is low so I treated it with 2" thick Knauf fiberglass duct board as John Sayers suggested.

The nearfields are mounted in 3/4" thick osb board in boxes of the same material. They are mounted in the corners and the area behind the soffit is filled with fiberglass batts.

The manual from tannoy said that there should be no reflections off the table if the table surface is more than 2' from the monitors, which is why they are mounted above and tilted slightly down. The rest of the room has sound pannels made of Knauff fiberglass duct board. Which makes it pretty dead.

I record and mix with n-Track at 24 bit using Ark 24/96 card and pres. After I get the mix done I use Ozone (mainly the Limiter) and then n-Track to convert to 16 bit, using the dither at a depth of 1.0 + noise shaping that comes with n-Track.

I hope this information may help you help ME

thanks Larrye
 
larrye said:
my room is about 11.5 ft X 19 ft, the ceiling above the mixing area is low so I treated it with 2" thick Knauf fiberglass duct board as John Sayers suggested.

The nearfields are mounted in 3/4" thick osb board in boxes of the same material. They are mounted in the corners and the area behind the soffit is filled with fiberglass batts.

The manual from tannoy said that there should be no reflections off the table if the table surface is more than 2' from the monitors, which is why they are mounted above and tilted slightly down. The rest of the room has sound pannels made of Knauff fiberglass duct board. Which makes it pretty dead.

I record and mix with n-Track at 24 bit using Ark 24/96 card and pres. After I get the mix done I use Ozone (mainly the Limiter) and then n-Track to convert to 16 bit, using the dither at a depth of 1.0 + noise shaping that comes with n-Track.

I hope this information may help you help ME

thanks Larrye
Click to expand...

but are u comparing the final stereo mix in ya car with the multitrack unmixed versioin in ya studio? or are u comparing the stereo mix from the studio and the car?
 
I compare two ways.

1. Final 16 bit mix ready to burn to Burned CD in the Car.

2. CD in studio to CD in car.

Larrye
 
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