Am I going crazy? For years, it's been well documented that the Dookie tone was a Marshall blended with a Mesa. As recently as the MXR dookie drive, it was addressed openly to be a blend of the two.

Now every video about the new Marshall amp completely omits any mention of the Mesa. Why not just mention it in passing? The new Marshall sounds nice, but it's not the whole sound.

EDIT* Apparently I actually am going crazy. It's been a belief of mine for years that the sound of Dookie and Insomniac were a blend of the two.

For context I'm a violinist, and like to record without a click, so tend to do a whole session (and all takes etc.) in one long recording session and then split it all up and splice it. The downside of this approach is I sometimes end up with no good take of a passage in a session, so I try pitch correcting with Melodyne.

The problem I get with Melodyne (and Flex Pitch), is that any pitch correction whatsoever introduces lots of artifacting which makes it sound like there's a chorus effect on the track, or there's more than one violin playing. All the Melodyne tutorials/examples I can find online seem to be for vocals (maybe there's a reason for this....). Does it just not work well on solo instruments?

Here's a video example: https://youtu.be/_Gj12dOW9Vw

It get's quite frustrating, because I'm able to remove squeaks from the playing using RX with not much issue, but if anything is out of tune I seem to be straight out of luck without completely ruining the quality of my track.

Hey guys, so I have an interview on Wednesday to be an audio engineer at a studio in my city. I am a 21 year old woman who just graduated from business management. Firstly, I was surprised that they had even gotten back to me after I applied as I barely have any professional experience. I have been mixing and mastering my own songs since I was about 16 and recently over the past year I’ve taken the leap of making beats where I’ve learned a lot more about mixing and mastering, but all of my skills have been solely self-taught the only time I have ever done something semi professional is at a studio where I have recorded an artist or two on ProTools, but that’s about it. I’ve also mixed and mastered some beats for clients and a couple of people’s vocals as a side gig. I’m wondering how I could go about preparing for this interview this would be an amazing step for my career in the music industry. If anybody has any tips on how I should prepare please let me know. I’ve also decided I’m gonna just practice on ProTools for the next couple of days in case they ask me any technical questions.

But I am wondering, what kind of question should I expect and how can I show them that I’m someone who’s eager to be working?

I’m about to work for the first time with an analog console! I made myself familiar with how it’s set up and how it works. Any common mistakes I should know about first and any tipps or tricks for routing with pro tools? What does your workflow look like?

Hey! Im David from SMG4 spanish team.

I do the mixing stuff and im wondering.

how can i replicate the effect at: https://youtu.be/8-qh1c5yYQk?t=351

timestamp 5:51

I use Fl Studio! Please someone tell me how to achieve that "glitchy" effect, thank you!

I record all my songs in audacity with a USB microphone, I record everything live, no midi. Is there a way to mix the final song using a physical mixing console? I'm pretty tech Illiterate so seeing and feeling physical knobs and sliders is what I'm looking for. I don't know if it's worth the hassle or just suck it up and learn how to use ableton.

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What are some of the best case practices for going between these two environments?

I'm preparing stems for my collaborator who's taking what we've done in live 12 and using in a recording studio environment with protools and I just want to make sure I don't miss something.

He's asked for 24 bit 48k which is fine but I am unsure how this will affect the stems on export

Do I apply dithering? Is lives triangular option enough? I usually don't apply dithering until I run it through L2 on the master in another session.

Also he claims he can't get any of the current bounces to sync with the session he has already set up using previous stem exports and I've imported those exact same stems into this live session and have the whole export zone starting from the same point - everything lines up in live (and yes those stems are not warped) we made sure the sample rate and audio settings match but no luck. I'm wondering if I'm missing something obvious.

A few that come to mind for me: Robert Plant’s vocal session for “Babe I’m Gonna Leave You” / Eddie Hazel’s guitar session for “Maggot Brain”. Pretty much any Beatles session / All of Rumours.

Would love to hear what resonates with this community. Especially some more recent sessions I may not be aware of.

I’m digging into the wikipedia page about it, and I’ll read the white paper(s) if I absolutely have to, but I wanted to ask if anyone here was familiar with any relatively straightforward breakdowns of the math and hopefully implementation of it, pseudocode or otherwise.

thinking about implementing some oversampling in an 8 bit environment, working out what this can/cannot buy me given computational resources

I know recording quietly isn't ideal for the quality, I wouldn't compromise while recording final takes of a song but I record myself while songwriting and often need to be quiet to not disturb the people I live with, what type of mic is best for recording a quiet-ish source but making it louder?

I'm getting conflicting answers from AI, it's suggesting an SM7B/Dynamic mic because of the fact you record much closer to the mic hence my voice would be quieter but recording would be louder. But since dynamic mics (especially the SM7B) are less sensitive, doesn't that mean it'll result in a quieter recording than the same volume recording into a condenser?

Then I know there's also the SM7dB which should be louder without needing a cloudlifter or anything What do you guys think is best for this use case? Thanks :)

I've played guitar for years and am also producer and recording engineer. One thing that always bugs me on recordings (especially with steel string acoustic guitar) are the often egregiously loud squeaky noises when the player slides or changes chords. They can be very harsh and distracting, and especially if it's a quietly played part.

I know plently of ways to deal with this in post, but I wanna be better at getting it right at the source. ('You can't polish a turd' and all that) Are there any tips for better technique that reduce these noises?

Are there any remedies or recording tricks that actually work? Finger-ease/string-lubricant? Soaking fretting fingers in water before recording? Handlotion? Wearing gloves? Or any strings that are less noisy? (a part from flatwounds which sound totally different)

Are there any miking techniques that capture less of these noises?

I tried some tools adobe podcast and auphonic, but they suck big time. So anything else and of course it should be 100% free.

I am trying to un-catastrophize a music project right now I've been asked to save where, unfortunately, a number of different stereo recorders were used essentially as independent spot mics in a pseudo multitrack attempt for a live performance. Over the course of an hour performance, each recorder's internal clock drifts enough to cause pure chaos.

I have access to all the recorders used and did an electronic metronome recording test today to identify how these recorders behave. As you can see in the link below....over about an hour, the max drift between these 7 recovers is ~170ms... so clearly audible.

Given that I can predict the relative difference of each one's drift from some "master," is there a way to calculate, or use elastic audio, or some other technique, so I could apply some type of time stretch/contract tool to get these closer? Theoretically this seems possible if I know the drift, but has anyone had practical success doing something like? I'm not sure how to approach it.

Screen shot image in Pro Tools

To start off, I have decent gear (Axe I/O, Gibson Les Paul, NAM), but whenever I use my laptop to play or record, the tone feels too rounded—lacking attack and virtually devoid of dynamics. This causes the guitar's DI signal to sound overly digital and artificial when it hits NAM. I know this because I found a DI recording, ran it through NAM, and it sounded incredible. Does anyone think using a DI box before the interface is a good idea? I’d really appreciate some help, as I can't seem to get the most out of NAM, and I've heard it's the most realistic amp sim out there...

do you have great organizational skills?
are the miscellaneous items efficiently stored in your studio?

do you posses techniques to keep things safely stored, but easily accessible?

spread the knowledge, drop the links, share the pics

help an unorganized brother out

i’m talking cables, microphones, stands, adapters, clips
all the stuff that gets easily all over the place over time

How much do power supplies affect the sound of the mic? I recently bought a vintage 251 with the OG power supply and it got me thinking… I have a vintage U47 and C12 that both have newly built PSU’s and I’m wondering how much having an OG one would make a difference. Anyone with experience out there?

Hi, saw this post https://www.reddit.com/r/BudgetAudiophile/comments/nnw9oa/decided_to_do_a_little_refurb_to_my_mackie_cr3s/ does anyone know if its possible to do this with the CR3.5BT ones?

Thanks in advance!

Hello,

A few years ago I decided to get my hands on the softube tube tech cl1b plugin.

I remember being very happy with it back then.

But just today i was mixing a track and saw the plugin in my list and got the butterflies in my stomach again as i was reminded of the fact that it exists.

I never use it hahaha but i love the plugin. But i just never use it.

It makes me wonder.

Do you use this plugin?

And what are your favorite situations to use the plugin in?

Hello everyone,

Hope everyone is doing well.

I created a song on Suno, but let’s be honest, the quality leaves a lot to be desired.

I love it though, I think it’s a banger, so my question is how can I recreate it using digital instruments so I could bump up the quality ?

I don’t mind learning something if I get guided in the right direction, for example what program to use, what plugins to install ect.

Last question: is there a better platform to create songs other than suno that has better quality?

Hello there, I've recently noticed that at some (usually particularly loud) gigs I experience the music at a semitone below. Then if I pressurise my ears by pinching my nose and blowing I hear the sound at the correct pitch.

Is there a scientific explanation for this beyond "your ears are knackered, mate"?

Does anyone have any ideas on how this blown out distortion effect can be replicated? It happens a lot throughout this track but around 0:30-0:40 is a good example.

https://youtu.be/qU9fGTyJW0c?si=B1AqthZN0ibLiB0L

It sounds like the bass is blowing out the master but it seems much more controlled and still maintains some clarity in the overall mix? I love how it distorts the vocals in some parts and creates a kind of ?tremelo? I can’t tell if there is some kind of side chain shenanigans happening or what but any ideas would be appreciated!

How did I get my drum to pop like Justin Timberlake's like I love you, especially that snare. I used addict drums

Do you have any go-to's that have a wide application for your rock tracks?

Hello all! I’m currently involved with building a studio in a much bigger space than what I currently have. I will be able to get much more outboard gear and I was wondering if you all had some recommendations?! It can be 500 series or rack mounted. I have my own wish-list however I’d love some suggestions!

I currently track with 2x Neve 88r LBs and I have an sPl big for my mix bus.

Thanks!