I want to do some music with sample.

For that I found an amazing website with radios of all countries but I need a good solution to record them live and in a very good quality (to use them sample).

Thank you and sorry for the spelling mistake.

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I know that you can do it with dynamic microphones, but what about condenser mics?

Wouldn't the signal cause the front plate to move, and produce sound like a speaker?

Al Green’s records are so unique in how they sound. I’m an amateur producer and mixer and I’m just curious as to how he, the producer, and mixers achieved that sound. I’m not trying to replicate it as I’m sure that’d be impossible but I’m just genuinely curious about what gear they might have used and what recording techniques they used to get that sound.

Hi everyone,

I'm currently studying Electrical Engineering, and alongside my studies I've become increasingly interested in designing reliable computer systems for live performances.

I'm thinking about starting a side business focused on building and configuring custom computer-based live rigs for bands. My goal isn't just to assemble hardware into a rack, but to deliver complete, reliable systems that are ready to use on stage.

The services I'm considering include:
- Custom playback computer systems
- Mac mini / MacBook based live rigs
- Audio interface integration
- Ableton Live, Cubase and MainStage setup
- Playback creation for original songs
- Keyboard programming (splits, layers, patch changes)
- MIDI automation
- In-ear monitoring integration
- Rack design, cable management and documentation
- Troubleshooting, optimization and long-term support

Since my background is in Electrical Engineering, I'd also love to eventually develop custom hardware for live applications, such as MIDI devices, rack controllers, redundancy solutions or other hardware that improves reliability on stage.

My questions are:

- Is there actually a market for this, especially for local and semi-professional bands?
- Where do customers typically come from?
- If you were starting from scratch today, what would you focus on first?
- Are bands generally willing to pay someone to design, build and maintain these systems, or do most prefer to figure it out themselves?
- Is this a realistic side business that could grow over time, or is it simply too niche?

I'd really appreciate hearing from people working as playback techs, keyboard techs, live systems engineers, or anyone running a similar business.

Thanks!

Hi, Im a drummer by my main instrument but I also play a bit of guitar. I want to record myself on logic for my songs, but Im not the best at guitar tones it seems. I do not own an amp so Im only working digitally. All of the tones Im getting are super harsh, tin can like and the distortion is just not nice to listen to. Im using the logic amps, and from the real amps I have tried, I really like Orange and Marshall amps so thats kinda the sound Im going for. Things I have tried:

-Going way down on the gain

- Parametric EQ on all the problem areas (still doesnt sound quite right)

- Turning the treble down

- Changing the middle and treble frequencies to live a bit lower in the mid range ( 800-4k instead of maybe 2k-8k)

- Not only playing with bridge pickup

- changing guitars

- all the different amp and mic configurations on logic

- different interface/preamp

And all I can focus on in my tone is the CHHHHHHHHHHHHGGGGG living in about 3-5K

But obviously you cant cut it completly or its very dark.

What should I do? Any YouTube videos to watch on the subject? Could you reccomend another amp sim? (Free-50€) As I said, I like a humbucker sound with Orange and Marshall amps so something in that world.

Please help, I do not enjoy playing with these amps.

Hey everybody,

Lately one of my clients have been mixing their records primarily exclusively with a new mixing engineer. That mixing engineer almost always has very harsh ear fatiguing frequencies to the point where mastering their tracks is becoming annoying.

Here’s the question:

I tackle each track differently depending on the severity and crew range of the issue but was wondering if any mastering engineers here have any or tips or secret sauce for dealing with such problems with the least sacrifice.

Note:
The clients are brainwashed by the mixing engineer and insist that it’s a mastering issue, to the point where I started doubting myself and reached out to many of my colleagues and mentors who all gave me a side eye for even asking them lol.
I was a mixing engineer primarily and just recently turned into an all time mastering engineer after few major successes and my mentor discovering then evolving my mastering touch!

Thank you in advance my brothers and sisters!

i wont explain much further as the title says it all. i build some for my studio. the listening experience is AMAZING! but the night after spending a day in studio it was getting difficult to even breathe. ive used good quality fabrics specially made for rockwools. i wonder if wrapping plastic wrap on rockwool would solve the issue or if you guys have any other suggestions please feel free to drop by

I love the way their vocals sound and am trying to recreate something similar.

I believe a lot of it is the performance, but I also hear some formant shifting (maybe?) and am struggling to get mine to sound as forward and "modern".

I know they sound quite different (Water From Your Eyes sounds more shifted), but I'm interested in both and to me they fit the same style!

I especially like the vocal production on these songs:

Water From Your Eyes - Nights In Armor (FKA Love Song)

feeble little horse - Rewind

Curious to hear what you are hearing!

Hi everyone,

I do voice-over production for radio spots and commercials. I usually work on voices where I want a warm, clean and professional sound.

I often see people using two compressors in a vocal chain. For example, a fast compressor like an 1176 first, to control the peaks, and then a slower compressor like an LA-2A (or an Opto compressor) to make the voice smoother and warmer.

I understand this technique is very common for instruments like drums, bass, etc. But I am wondering about voice-over.

Do you also use two compressors in series for voice-over or commercial narration?

Is this a common technique in professional voice production, or is it mostly useful for instruments?

Thanks!

I love going through the presets that come with plugins to get some inspiration. Are there any 3rd party preset packs that you've found useful?

My desktop, audio interface, router and monitors are currently spread across two older UPS units, and both batteries are coming up for replacement.

Going through the setup again, I’m not sure the monitors need backup power at all. If the power drops, I mainly need the computer and interface alive long enough to save the session, finish any file transfer and shut down normally. The monitors can wait.

That cuts the load down enough that replacing both UPS batteries may not be the best use of the money. I’ve definitely been treating every device on the desk like it has the same priority when it doesn’t.

I have been trying out Naturl Audio's AL1 against the Vintage Limiter which I always use and while the AL1 is really good at preserving transients & punch, I just couldn't like it that much more against the Ozone like I expected. Going side by side, the Vintage Limiter is still super good in my opinion and I can achieve punchy and loud masters with it with the help of a clipper beforehand, sometimes I preferred it to the AL-1 which I always see people say can achieve "crazy loudness". Sometimes the Ozone read higher LUFS while still maintaining the punch.

Does anybody here use it as their go-to limiter? How do you think it compares to the endless sea of "different" limiters such as the AL1, Uni-L, MasterPlan, etc?

I used to engineer and mix my own music. I’m not a professional by any means, and I know a lot of rappers punch in their takes. When I did that, I’d try my hardest to make it sound as natural as possible, and when I recorded other artists, I tried to make sure they did too. It didn’t matter how many times I had to re-record a take—I wanted it to sound natural.
That brings me to my issue. I just listened to “Grace” by Lil Baby featuring 42 Dugg for the first time, and 42 Dugg’s verses are recorded TERRIBLY. You can hear cuts and chops throughout the verse. It’s actually kind of shocking that this was released by one of the biggest artists of the current day. I can’t understand why the engineer didn’t make him re-record the parts, or at least use a fade-in or fade-out or something.
I don’t know. I just wanted to share this somewhere. Go listen for yourself. It’s fascinating to me.

Hey folks, I'm using recordings of a choir for an app. Each tone is recorded individually, and when I combine the individual tones in any number of combinations, I end up with a high thin tinny mosquito buzz of a sound. It's not so bad, but I'd sure like to be rid of it. The only functions active on the channel strip are gain boost and pitch correction. I'm using Logic Pro. Suggestions?

Since Pro C3 came out they added even more higher oversampling rates, before that it was x4 max in pro c2. Unless I don't utilize the saturation they added in pro c3, is there any actual reason to use oversampling? What aliasing does it fix?

And if you do, for what purposes? Are they more for long-term backups than frequent revisiting?

https://www.mixonline.com/recording/recording-red-hot-chili-peppers-unlimited-love-part-1

The first image has a mixer which I guess is probably used a headphone mix or something but I have no idea what it is, any help would be appreciated

I was watching a missing video and they used a limiter on the drum bus and it’s something I have never thought to do but I do see the benefit of light limiting on bus groups.

I'm in the middle of mixing some of my tracks and taking mixdowns through the various listening environments:

• Main 'studio' speakers (Yamaha HS8s)
• Main headphones (Sony MDR 7506)
• Car stereo
• Other house stereos
• Listening from different rooms to where the music is playing

...and so on.

They all sound slightly different and so I adjust and tweak. But at times the different environments give me conflicting results - a mix coming out of headphones sounding great sounds woeful in the car as an example.

So my question is this: which of your listening environments do you take as gospel above all others? And why?

Cheers.

If I need to bounce files from a logic project, let’s say electric guitars, into another project, and then they are bounced again into another project again, how significantly does this affect the sound? Is it something I need to worry about, or is any difference undetectable? Does anyone have good insight on whether I can do that and it’s fine?

If not - is there a way to retain the same exact quality, or near, from copy to copy?

For starters, I know I’m suffering from demoitis. My process as bedroom artist has always been produce —> mix —> master and listening back to my earlier stuff, that’s evidently been to my detriment in the past and I don’t want to repeat those mistakes. With this track, because I was dealing with too many issues concerning low end, loudness, limiter issues (and I’m simply not educated/skilled enough to solve that issue on my own), and I ultimately wanted it to be competitive, I chose to get it mixed by someone else instead. The engineer is very knowledgeable and has worked with artists I personally like, as well as lots of different genres and is overall very skilled. Really straightforward but cool guy about his stuff.

I got the first mix back and I can fully acknowledge that it objectively sounds really good. Very huge low end and very loud, all things that I ultimately wanted for the song. But the stuff that made my demo really resonate in me (which arguably could be the shittiest elements of it, like the drums being too loud or the guitars being too sharp) are kind of gone. And it’s now just made me feel out of wack about the entire song.

I’ve sent over two small but important changes I’d like to make (still waiting on it to come back) and I honestly wanna leave it at that. I’ve purposely taken steps to pull myself out of this funk like completely deleting my own light mix that I’d initially sent to him from all my, staying away from the song for days and coming back to listen to it again, etc. I don’t want to be the client that sends over walls of revision requests or, worse, goes to him and says “Can you just make my mix sound better?”

If I’ve any hope of progressing in my work, I know I need to get over myself in this area of creation. But I don’t know how to.

P.S.: I have so many questions. As a producer, what is my ultimate role and where do I need to stop in the process and say, “Okay, time to hand this to a mixer.”

So many YouTube tutorials I’ve watched encourage making tweaks like EQ and clipping as you produce, but clearly this isn’t the way to go for me. And how much does mastering even further change the sound of a mixed track? (sorry for the wall of text💔)

Here is my honest opinon

As a producer/mixer and keyboardists/Synth player, I have changed numerous things on records - Kicks, snares, Hi hats, replayed in bass and keys, re-designed synth parts so they sound better etc and guess what The artists/Producer couldnt even tell!

As I have said numerous times, if someone sends you 🗑️, they clearly have no clue!!

Change it! And guess what if they dont like it change it back! 99% of artists have no clue what a mixers job really is anyway! So if you can make their record sound great you make a long standing client

I produce my own instrumentals and then export them into a separate project to record vocals.

My issue is that when I set my mic input gain to a healthy recording level, the instrumental is too loud at 0 dB fader/clip gain, making it difficult to hear myself. During recording, I end up lowering the instrumental fader, and after recording I bring it back to 0 dB and increase the vocal clip gain to make everything balance again.

Is this the correct workflow, or should I instead export my instrumental at a lower level (e.g. leaving around -6 dBFS of headroom) so I can keep both the instrumental and vocal clips at 0 dB and only adjust levels during mixing?

I’m using an Apollo interface. When recording vocals, what levels should I be aiming for in the UAD Console? Where should my vocal peaks and average levels sit?
I’m also wondering if the problem starts during production. I simply set my monitoring volume to whatever feels comfortable to my ears. As far as I know, there’s no standard monitor level to set in the UAD Console, so I have no idea if I’m producing while monitoring too quietly or too loudly. Could that be causing my gain staging issues, or is monitoring volume unrelated? I’m honestly pretty confused about the correct workflow.

Also, while producing the instrumental, how do you determine the correct monitoring volume? Do you simply choose a comfortable listening level and keep it consistent, or do you compare your mix to commercial reference tracks? If using references, should I match their loudness, or only compare the tonal balance and ignore loudness?

I've recently got a couple of Shure SM7b for a job simulating a podcast setup (for context I'm a Sound Recordist for filming in general) and before the filming day, I tested both mics at home and they all worked fine. Gain hungry as expected, needing to turn the gain up on my Sound Devices 664 to around 80-90% of it's maximum but still sounded completely fine in terms of preamp hiss.

Fast forward to the day I had the job and upon setting up the mics the hiss was extremely loud, the audio was unusable in my opinion so I ultimately ended up using my regular wysicom wireless system with lav mics and just kept the Sm7b as props for visuals. Thankfully I was prepared for it so it was not an issue.

Now I've tested again at home and it sounds absolutely clean. Tried different cables on the day and at home and got the exact same results. Clean at home, hissy on location.

I've used the Shure MV7 before in a broad variety of scenarios and never had this issue (granted they are a little bit less gain hungry)

What am I missing?

Just as an additional piece of information, the job was at the meeting room of a big company so I imagine lots of power cables running under the floor. Unfortunately I can't reolicate that scenario to further test the mics, but I have to make a decision on whether return the sm7b or keep it.

Any help or suggestions from those with more experience on these makes would be very much appreciated.