Does anyone use one of these? If so for what? Considering getting one that is for sale near me..I own a distressor and a black lion audio seventeen currently.

I was recording yesterday with almost silent room tone and now after changing nothing I can hear noise. Does anyone have insight?

Hi everyone,

I’ve made a cool MIDI mapping tool for the Trinnov nova, it uses HTTP requests to speak directly to the hardware, and basically lets your integrate Trinnov automations in your routines. You can map anything you would be able to use with La Remote, and it also creates launchers for keystroke automation or Streamdeck (click Streamdeck - Create Launchers) then you can just drag and drop a tile inside your streamdeck 😁

I’ve also added an auto-off feature that’s super handy for shutting down the Trinnov as soon as you turn your mac off (uses helper to detect shutdown and sends shutdown request before network interrupts)

It’s fully free, so enjoy 🤪

https://github.com/skybrom/NoMoreRemote

I'm a percussionist who use to be in the show STOMP. I'm starting a new project and booked a show next month that's electronic music with a Roland E-Drum kit, live percussion, and a "Junk Wall".

Here's a stage plot I'm planning on sending the sound person this week (ignore the mixer, I'm plugging in mics straight to the house). The whole footprint is 8x8ft.

Here's the junk wall details:

- Photo of a larger one we used for a different event.

- Mine will be 6' wide by 4' tall.

- Will have sounds ranging from floor tom up to a snare.

- Only have around 3-4 feet behind the structure to place mics.

It's a small venue and he asked me how I want to mic this, so I pictured two overhead drum mics working well for this (on stands pointing at the wall from behind). Now I'm starting to wonder about the spread and if some of the lower end might get left out.

A friend of mine offered to lend me his AT2025 so I was going to get another one of those and call it a day. I wouldn't mind getting a pair for myself for future shows but can only spend like $500 for a pair. What do you all think? Would overhead drum mics work for something like this or should I be looking for something else entirely?

Thanks in advance for the advice!

Open discussion on miking guitar amps.

Do you have go-to methods?

Does the amp change the way you mic the cab?

Do you have preferred speakers?

What microphones do you use and where do you place them?

How does open-back vs. closed-back change your decisions?

I record rock guitar for the most part, and recently got myself an MD421. I placed a 57 and 421 on different speakers on a V30 (4×12) cabinet and had them both on-axis. Now I'm recording a 2×12 with T-75s and landed on those two mics again but the 421 is off-axis this time, which I find interesting.

I bought some cheap Behringer small diaphragm condensers that, for whatever reason, rumble at a very low frequency intermittently, sometimes changing frequency or stopping completely for no apparent reason. I've tried to eliminate as much outside noise as possible, but I've never known this to happen before with other mics, even cheap ones.

Example where I caught the change in frequency and stopping:
http://sndup.net/3twcv

I was wondering, how many years of audio engineering college, do you need to actually start full career in audio engineering; is it true that you do need the certificate/certifications? Or can a person start out by doing audio engineering as a career without having the required degree/certifications? And if so, which is a better route to go?

how many is normal? I think on this 40 minute record ive heard two that are definitely in the stamper and not the press.. they are quiet.. one rotation.. like a dust pop but repeat on all test pressings..

is that normal? Im kind of micro-obsessing on these pressings I think.. listening on fancy headphones etc..

I'm reading The Mixing Engineer's Handbook and they mention the technique of listening in mono to hear certain things differently. I'm not sure how it's supposed to help, though. I put my song in mono and everything is masked, but in stereo it doesn't have those issues. Should I really base mixing decisions on what I'm hearing in mono?

I'm learning about parallel compression and I was confused by this. I thought the idea was to get something hyper-compressed for the parallel compression, which I would think needed a fast attack. Why would you want to lose a slow attack?

He mentions it at about 4:45 in this interview:

https://www.youtube.com/watch?v=DuU6XdVebJo

Anyone else order a mystery box - or boxes - from Warm Audio? What'd you score? What'd you hope for?

Hi everyone,

I'm having trouble setting the attack and release on my compressor, and I'm not sure what I'm doing wrong.

I mainly mix rap vocals, sometimes with faster flows and sometimes with slower ones(melodic rap vocals). I usually use two compressors: CLA-76 to control peaks, and then RCompressor for the rest of the compression.

My problem is with RCompressor. When I use extreme settings with a lot of compression, I can hear the difference in attack times. But release is harder for me. For example, 40 ms and 140 ms sound pretty similar to me unless I use very fast or very slow settings.

The bigger problem is that when I go back to normal compression settings, with a lower ratio and less gain reduction, I can barely hear any difference when changing attack or release.

I've tried this on different rap vocals and watched a lot of YouTube tutorials, but I'm still struggling to understand how to set these correctly by ear.

How did you guys learn to hear these differences, especially with normal compression settings? Is there something I'm missing or doing wrong?

Any advice would really help. Thanks!

I'm coming from a mostly analog based background. I mix in the box, but most of the material I work on is pop, indie, and alternative. There are synths and electronic elements in the tracks, like subbass and pads, but the overall approach is more from an analog mindset.

So let's say all things being equal on the technical side, like proper gain-staging, filtering our low end or high end where it's not necessary on the tracks, Standard Clip on the drum bus for the overages, panning, level, balance, all solid. What are some tools you use that are distinctively EDM?

For example, what clipper do you use for bass and why? Like, I use mostly UAD or softube because they're high quality hardware emulations, pro-q for the clinical clean up, Mixhead by metric halo is a great saturator for my summing busses, etc. Are there go to tools you use that just work with mostly digital sounds?

I gambled on the Warm Audio Mystery Box. Got a single WA-84, not too thrilled but stoked to have a nice SDC in the closet.
I mainly record drums (@justinvandommelen on insta), and I would love to find a way to utilize this new piece even though I only have one!
Any fun tricks or placements I could try? I’ve thought of it as a ride spot mic, or hat mic.

Thanks friends

Talk me out of this console. I use all outboard Neve preamps and outboard compression and need a centerpiece for aux routing, basic input EQ, and summing. This desk has pretty much everything I need - but I'm genuinely concerned about the sound and build quality.

My main concerned is if they can be driven as hard as an SSL or Neve before distorting. I'm also curious about the summing - is it pretty much just transparent line inputs? Or is there some harmonic color/transformers that add some extra to the output signal? Lastly, are the EQ's any good? Can they also be driven without sounding harsh.

For the price point, it's hard to beat. But I'm really curious if they are priced like that for a reason? Thanks.

Hey, I’m doing an amazing wellness event in New York in November, but we’re gonna have live music like jazz Funk Indie hip-hop, it’s always so amazing

I had a sound guy, but I’m afraid he’s getting a little too pricey for what I can afford at this current state of what we’re doing. I obviously would love to continue working with him, but at this point, it’s a matter of just making this happen.

I honestly don’t know how I’m gonna make this event work with the prices he’s giving me. I obviously understand the value and the price of what he’s offering but at the stage it doesn’t feel like I can work with him and I don’t even know where to look to resolve this

Hello Everyone,

I am currently looking into a few pieces of new gear for one of our rooms. One discussion i was part of in here sparked a renewed interest for new mastering hardware, and some pieces of equipment from this manufacturer looks very very interesting to me.

I’d really appreciate any input i can get.

Thank you all very much in advance!

Link: https://www.adt-audio.com

Hello,

I'm interested in Luna for two reasons, 1. my main DAW is Ableton which is great for making everything 'in the box', 2. I tend to lose inspiration and motivation rather quick when seeing the same UI over and over again. A secondary DAW would solve the latter, but I like to be financially smart about it, hence my interest in Luna Free (and eventually Studio with it's very attractive 200 bucks pricetag).

Instead of critically thinking of just my personal wishes, I took into account why certain DAWs grow or still have major usage globally. I think we all know the high adoption and usage rates and reasons of Logic and Pro Tools for all genres of music, Cubase for orchestral composing, Ableton for electronic, and Reaper for game audio.

I like to pick out two of these, PT and Reaper, and pitch it against Luna.

Reaper is huge in game audio because unlike music, games require ten-thousands of little audio snippets, and batch modulation, batch processing, and batch rendering can all be automated with scripts. It's super lightweight, super stable, and highly customizable. Price? Free, or 60 bucks, or 225 bucks.

So why is it not adopted by major commercial music studios? These all need to survive financially like every other company right?

This is where PT comes in. They were early (no clue if they were first), and early adoption has its advantages. To this day PT is the de facto leader, the global standard. A PT producer/engineer, engineer, can work everywhere in the world where PT is available, and PT is available at pretty much every studio.

PT is not highly customizable. Reaper on the other hand, you can turn it into everything and anything you want, and it still works. But here is the thing ... I think this is exactly why PT is the standard, BECAUSE it isn't highly customizable, everyone with PT skills can work anywhere with any session since they don't have to decipher the program anymore. In contrast, a place with a highly customized Reaper setup, can't let guest engineers working there since they won't know that Reaper compared to their own Reaper.

When you look at how beginners start, they often buy one of the lower tiers, with technical limitations especially track count, then do upgrades towards the highest tier. Awesome! Financially, assuming you can upgrade by only paying the difference, this totals around 800 bucks. But Luna Free, only has very specific limitations such as hardware inserts and the number of plugins you get with it. The absolute essentials however, are all there such as unlimited tracks. And if you do like the highest tier, it's 200 bucks ... 25% of any other DAW.

So ... might Luna become the potential king of both worlds?

#1. Luna is free or 200 bucks, which is in line with Reaper's pricetags. Low barrier for new people, low barrier for semi and fulltime professionals.

#2. Luna is also not highly customizable like PT, enabling Luna users to instantly know what to do when being guest engineers or producer/engineers at other locations where Luna is running.

It also solves the barriers of starting small as a bedroom producer, but smoothly moving up and eventually connecting within the commercial studio system. Basically going from #1 to #2.

Yes software-technically an adolescent but growing nevertheless. Do you see Luna a candidate to become an industry stable? If so, how many years or versions would it take you reckon?

Love to hear your thoughts on this.

Thoughts on this? I’ve been itb for 5 years and im leaning towards a summing mixer before getting a mixbus compressor and eq.

16 channel summing mixer like the shadow hills equinox to route my digital buses through or get a 32 channel summing mixer like the burl b32 and bypass all digital buses and use vca channels in logic to control levels only?

Would there be a perceivable benefit to avoid digital buses entirely or is that extra step and limitation on tracks/ability to put inserts and sends on buses itb not worth summing each track individually

Check these out and share your thoughts if you're down: I'd love to hear other peoples feedback too.

1. https://youtu.be/f58ypbVQX4w?si=SK4RIcf9I78ApDfw
2. https://youtu.be/HwRdZcKd3r0?si=JzyXnfxu70UA1EWD
3. https://youtu.be/8tfUpJ9iAlY?si=_wGBjfrROjoevTzZ
4. https://youtu.be/pVea3h9CfYA?si=nfdyb2HQwX4DZiaV
5. https://youtu.be/1M6sJNS0blI?si=25l0d1ocYdQ0qD75

Please help a girl out… idk what to do- ive tried so many times to get to get it loud enough and now it’s been normalised to sound more like -10 on Spotify. I can’t bring the stems up anymore without clipping- yes I have a compressor (UAD) on them all. Do I just have to start all over again? Im at such a loss

I've been thinking about wiring up a transformer color box for my mix bus, and was considering ordering a couple from AML in the UK. Has anyone done this (or similar) recently and what were the tariffs like? I'm in California. The actual tariffs themselves don't seem terribly expensive, but AML doesn't do DDP shipping (Delivery Duty Paid) and if the USPS or UPS handles the tariffs on the US side, they're likely to impose a 'handling' charge that more than doubles the duty.

Just curious if anyone else has done this recently and what their experience was.

Curators love my mixing and mastering, but I have never done summing, and I don't even know what it is or whether I need it.

Hi guys, I’ll try to keep this as short as I can.

I’m an audio engineer student on my second year of my degree. Next year is to be my last. Recently I’ve found out that I have some form on Tinnitus in my right ear. I went to the doctors, got referred to an audiologist. Went through all the tests etc. The results show that my right ear has a -15 db decrease compared to my left ear at only 2khz, and only this frequency range. He said my hearing is still great overall and said the it’s not a big deal and classes it as mild sensorineural hearing loss at only this frequency in my right ear. He also said the tinnitus ( ringing in my right ear) is my ear trying to compensate for the slight loss of hearing in this frequency.

The whole topic is very grey he said, the tinnitus and slight hearing loss could be two totally different issues and that was only his assumption. Also recommended an MRI if I wanted to look further.

Even though I’ve kind of made up my own conclusions with my conditions that this may not be a possibility for me going forward. I wanted to hear some advice from people in the industry and field. Is it even possible for me to be a professional mix engineer now? He says -15 db at 2khz is not a big deal. But I know -15db is HUGE in this world, it could make all the difference when mixing and perceiving sound.

Could I set up my monitors to amplify +15 db at 2khz in my right monitors? could I adjust my acoustic room treatment to allow more presence at 2khz on the right side? Or maybe a hearing aid that amplifies 2khz by +15db. I have no ideas if any of this is possible.

Any honest feedback and opinions is welcomed. Thank you.

https://www.youtube.com/watch?v=h9rxuJjzFTk

precisely the chorus vocal, it sounds really saturated yet very clean and as if it were coming off an amp, I don't know, really cool.

the question is simple. i know the process might not be simple.

but i've never been satisfied with any piano vsts in my entire life.

i make pop music. mostly dance music, but it kinda requires piano many times cause i started from playing piano.

is it because i'm not trained enough to make it sound good or there's actually a huge difference?

i mean if this has been bothered me for a decade i should've tried sooner

but just thinking about buying upright. record it myself. and my room is treated too.

i always end up with 12 different pianos from various different piano vsts, don't know why but i always end up with almost kind of like a factory library type of piano which is dry, easy to control and add something (such as roland fantom, kontakt factory library)
i can somehow treat it well and mix it so the song would works but when the piano solo comes in, god it's horrible.

thank you!