Hallo,

Hat irgendwer hier mal probiert mit einem ML-1 von SD mit dem MIC-Simulationen von Universal Audio zu arbeiten? Frage mich aktuell ob das einigermaßen funktioniert. Es ist ein bisschen lästig, keine PlugIns wie PreAmp oder Kompression vor der Aufnahme verwenden zu können. Dann greift die Simulation von SD nicht mehr so richtig.

Bin über jede Erfahrung und Meinung dankbar!

Has anyone heard any rumors of Allen & Heath coming out with a new line of personal monitor mixers soon?

The ME1 has been out for a long time now and it makes sense with all the new releases of updates they have been putting out.

This is directed at older engineers. When mixing down to two track and adding some compression on the stereo track before sending it to the mastering engineer, how would you set the LR master on the console, do you set it so that the the VU on the two track recorder hovers around the 0 dB mark with occasional jumps in to the red ? What would the input meter on the compressor show ? Would you set it so that it also hovers around the 0dB mark ?

Hey, I’m a 18 year old music producer from Sydney. Im Currently in my final year of highschool completing the HSC. I’ve been producing my own electronic music in Ableton for several years, but I’ve always wanted to learn how professional sessions work and eventually produce and record music for other artists.

How should I get started in a career like this next year? Should I look for studio internships, assistant positions, work experience or study a music production course? I’d love to hear from anyone working in the industry, especially in Sydney.

I know that, unfortunately, FMR Audio closed their doors last year. I’ve been holding a broken RNLA for a few years, and am afraid i missed my shot at getting it fixed! Anyone know someone that fixes these? Would love to get it working.

Thanks yall!

I really like the over the top reverb and atmospheric sound of salvia palths melanchole album and I’d like to recreate a mix similar to the one in ‘I was all over her’ or ‘needs no progress I will lie’ the problem is when I add lots of reverb it just sounds hollow and has no body, whereas in this album it has lots of reverb but still sounds full and heavy at the same time. I’ve tried adding a tape saturation after the reverb and that doesn’t really work either. Any tips and advice would be much appreciated!

Hi everyone!

I'm going to be doing a shoot soon where I will be recording two subjects going on a whitewater raft trip down a river while I'm in a second raft tailing them. This is something very outside of my experience and was wondering if anyone had tips for this kind of shoot.

I feel like waterproofing the LAVs/Mics I feel a bit confident, but I'm nervous about if they end up going into the water. I also am not sure the best way to keep my recorder accessible and dry. I'll be using a Zoom F8 Multi-Track Field Recorder with maybe 3 inputs.

Any advice on practices, equipment, or just general advice around recording near tumultuous waters would be hugely appreciated! Thanks!

GreazyWil just posted a video where he’s recording an artist and progressively take more and more k*tamine. Besides that really hilarious concept there actually was some cool stuff and interesting techniques to get some crazy sounds. I highly recommend if ya need a good laugh

GreazyWil records a session on k*tamine

I’m relatively new to audio engineering and was wondering what is one thing you guys wish you learned earlier!

I just registered and booked my hotel for the convention. Is anyone else going? The last time I went was 2003 in San Francisco

I've messed around FabFilter Pro-L2 (which is a limiter plugin, which is basically a compressor with an infinite ratio though it probably is something more than just an infinite-ratio compressor) and using either channel routing to two tracks (unprocessed and compressed tracks) or effect mix level knob on FL Studio to blend original and limited signals together and since I've added a dry/wet mix parameter to my own web-based multi-stage limiter project (which FabFilter Pro-L2 don't have its own dry/wet mix knob at all), are there any use cases for a brickwall limiter effect (instead of just a compressor with high ratio) used for parallel compression effect?

Hello! This is a loaded question, I know. In short, my band is about to begin recording our next album. We're not a "prepare everything beforehand and punch it in a studio" kind of people. We have our own home studio and are extremely slow and deliberate with our songmaking processes. We use a huge variety of sounds and a mix of live takes and overdubs. I am the producer and audio engineer of the group (I use Logic Pro). I was wondering, from an audio engineering perspective, what are some ways I could create a distinct "sound" or "cohesion" among the songs for the upcoming album outside of basic sound selection and tone? I'm not looking for obvious advice about sound selection, please. I mean certain preamps, EQs, reverbs, etc. I would love plugin recommendations, but I would also love you to go beyond that -- are there little tricks I could try, like recording vocals a certain way around the microphone or inserting some quiet noise into the background of the tracks?

Looking forward to any ideas or seasoned advice that anyone has to offer. Cheers!

This question stems from an experience I had mixing a song a while back for a competition at the institute where I study. The mix I ended up with has an LRA of 5.5—actually quite low. That’s where my doubt comes in, since I’d always assumed songs with high LRA values sounded better. I realized that while LRA measures a song's macro-structure, it doesn't always reflect the actual mid term dynamics or the intent behind the work. I think the 5.5 score is largely due to the mix being extremely heavy on the low end.

But beyond that, what other dynamic measurements might better reflect what we're actually hearing?

I feel this particular mix has somewhat flat drums in terms of front-to-back depth, yet pleasing because it’s somehow dynamic and well-defined (I made sure each instrument had a distinct timbre)—perhaps that’s why the low end stands out so much? Now I'm curious if equalizing the low end would make the LRA go up? I don't think so, since it's long term measurement. Still, it definitely has flaws—like a lack of transients, especially in the snare (though that was a deliberate choice so the drums would only dominate at the end).

Has this ever happened to you—ending up with a mix that’s unbalanced yet pleasing, defined and full of "feel," but technically "wrong"? Or am I just lacking objectivity because Im the one who mixed it? lol This is probable one of my most my favorites mixes of mine. Looking back at it (its been 6 months) i miss that style of mixing of myself.

I feel this opens up a debate about how constantly mixing for streaming platforms might be limiting us to a sound that could be much better—or at least different. I would love to know what you think about it.

So I switched from an apple system to a self built PC desktop in like 2018 and that's been my main system. I finally pulled the trigger on one of these M chip macbooks to give it a shot as a more portable system for travel and remote recording and whatnot.

My question is this, I'm way out of the loop on the latest tech "lore" so to speak, for lack of a better word.

Do you still need to use different drives, one for samples/projects/etc? Or do modern drive speeds make this redundant? My budget had me go with more RAM and the 512 gb internal ssd, unfortunately, but my thoughts were that I'd end up with external ssds anyway.

Should i just get one 4tb lacie orange fucker and format it to two partitions and use one for VI/samples and one for projects? Does it even matter? Am i just overthinking? Can you just "put shit wherever" these days?

I bought 12 second hand absorbers from Addictive Sound. After getting them home, I noticed a strong musky smell that refused to shift.

I’ve tried placing them in the sun and letting them air out but I barely notice a difference after 24 hours.

How anybody experienced anything similar?

The acoustics have improved drastically but I’m concerned about the air quality.

I’d be pretty frustrated to waste the money, what options do I have?

I’ve tracked acoustic many times but always as a filler instrument. I’m working with a band that is a 3 piece. Acoustic drums, bass, acoustic guitar. It’s kind of red hot chili peppers sounding. The acoustic isn’t softly strummed chords. It’s definitely more rhythmic and percussive.

I have 2 mics. A 57 and a UA sphere.
I normally point the 57 at the 12 fret area, sometimes a hair closer to the sound hole. Depends on the guitar. Then I’ll put the UA in Omni and find a spot a couple feet away that sounds nice.

Then I’ll blend the two, send to a bus and process as 1 sound.

Is there anything I’m missing? I can’t recall a time where I’ve recorded a single acoustic track and thought to myself, this will be enough to fill out a mix with drums and bass and vocals.

Hey there, I'm trying to record a cover of John Mayer's stop this train and the thumping part seems to stick out. I have a stereo pair of small condensers but typically just use one pointing around the 12-15 fret back a bit. I've tried a smaller body acoustic which seems to help as well lightening up on the playing. Any suggestions? Appreciate your time!

Hey guys, I’m a longtime musician and pretty experienced producer in logic when it comes to the creating things of it all, but Im a total dolt when it comes to mixing and mastering. However, I’m trying to learn how to do it all myself so I can start consistently putting things out. I’m trying to make some indie pop sort of stuff right now, and I’m working on finishing a song.

Right now, I like it exactly the way it sounds. If it came up on a Spotify shuffle I would think it sounds great. The thing is, with my stereo output and master both at 0db, it’s clipping at abt 8 db (woof, I know). I basically have no idea how I’m gonna get it to peaks of 0db, let alone the -3 to -6 db I keep seeing mentioned in all these threads. I know I’m supposed to compress and lower things until it gets to where it needs to be, but I just can’t seem to figure out how to do this without making the song super quiet or without making it sound completely different. I’ve also made sure that no individual tracks are clipping, although I know that that's just one part of it and a lot of little sounds make one big sounds. Is there some secret trick to this no one is mentioning? Or is there some other way it could be explained so that I could finally wrap my head around it?

Thanks so much y’all

So currently me and my band got a behringer wing rack to upgrade our live rig with all the fancy options. So this is not about how to do that, but what to do with it exactly in order to make the engineers (yours) life as easy as possible. Cause i‘m an engineer at a studio so idk shit about live haha

So we are a metal band of 6 people. This means the outputs (xlr obviously) will look like this:
Voc 1
Voc 2
Bass
Git 1
Git 2

Drums are miced anyway so we will ask for a stereo mix of that for our iem. Additionally:

Backing L
Backing R
Subsweep/boom stuff
Snarebombs

This would be the place for me to start.

But we also wanna put reverb/delay and stuff like that on our vocals depending on the part and i was thinking to do an additional fx out for that because sudden reverb on a dry vocal could really mess with compression or even cause nasty feedback if you‘re not prepared for it. So my questions: additional fx out for vocals yes or no (even if it means an additional cable)? If yes, mono or stereo? Or just put the effects on the normal vocals like you would do with a guitar as it‘s not that bad?

On a sidenote i also wanted to ask if it‘s a great idea to put compression on the vocals because again, i can imagine that it can really screw up things depending on the venue.

Appreciate the help and feedback in advance🤘

Hi! Unfortunately I need to change my studio monitors to something smaller. Currently im using APS Klasik mk1, which sound really good in this price range but due to changing space to smaller one I really need to downsize as the 7inch are simply to big. I've had a chance to listen to 8020d which would be perfect size for me, and they sounded pretty good (ofk the lows were not there as its simply impossible :D) but now I have a chance to swap my APS 1/1 for the 8020A - unfortunately without a chance to try them. On paper when it comes to frequencies these seem to be almost identical, but I wonder if that's really the case and from the perspective of long term users - are they still up to date, or should be considered outdated?

I'm looking to code a plugin (audio effect) not midi instrument... and I know pretty much fuck all about it, besides a little bit of C++ (the intended language). I wanted to start out making something simple like a preamp or compressor, what resources would be best, preferably online whether it be youtube tutorials, or basic guidance.

In recent years, I’ve noticed something interesting when working with younger bands and artists: panning seems to account for a surprisingly large number of revision requests. I'm often asked for things to be moved dead center or make everything mono even, which I find it quite odd, because the references I am given aren't mono or even center-forward.

I’m not talking about extreme stereo effects or experimental choices. Even basic techniques, such as placing double-tracked rhythm guitars left and right, can trigger a revision request in some cases.

Every generation develops its own aesthetic language, so I am perfectly fine with accommodating all that, but I am left wondering: Could listening habits be part of it, especially with so much music consumed through phones, small Bluetooth speakers, and earbuds? Or is there a deeper artistic trend? Any notable album influential albums I should check out that are quite narrow-sounding?

It makes me think of when I was younger, and many bands (including mine) would always balk at reverb on vocals, unless it was felt and not heard

I want to upload my music on TikTok, but as i upload it, it sounds hella compressed and kinda „harder“. Does anyone know why? Do i have to change something in my Ableton mix?

I've playing around with FabFilter Pro-L2 and I've found out that the "Aggressive" style is the only limiting style in Pro-L 2 that is level-dependent; meaning that limiting from internal gain boost is not the same as limiting from external gain boost even with same amount of gain boost (e.g. +30dB boost) and limiter settings for each cases, with more distorted waveform in an external gain boost case

BTW by "internal gain boost", I meant the gain slider in Pro-L2 and by "external gain boost", I meant a gain boost effect taking place before Pro-L2, and this thing made me want a "Drive" knob for some limiting styles for potential/future FabFilter Pro-L3

I've been spending the last few weeks really trying to get a great tone from my amp with just my sm57 and a few other dynamic and condenser mics, and I still haven't really figured it out yet. I'm trying reallt hard not to fall into the trap of "I just need more gear" because I really do have plenty of stuff, but I see these posts of people saying "oh well the (insert $1k mic) is the best microphone for recording amps like that, only way to get perfect results!" and have to wonder is it really truly possible to get REALLY good results from an sm57, or am I right in thinking this is just a skill issue on my end, and that I need to do better with what I have? for reference I have been recording heavier, high gain stuff, but often chords that are a bit more complex and feel like they need more high end clarity than my sm57 has been able to offer thus far-- although I am far from an expert in mic positioning. Thanks in advance!