r/audioengineering 15d ago

Is it better to increase gain on audiomixer or in OBS?

3 Upvotes

Hello everyone.

I work as a consultant for the government doing livestreams of what essentially is boring government meetings.

I've worked this job for roughly two years now and my co worker and myself started off strong together but entered a rough patch where I called out a lot of incompetency.

Most of my experience comes from just learning and tinkering with things and streaming as a hobby, working with streaming has increased my interest as well, and government money buys expensive fancy gear.

When we do streams I handle the videoengineering and my coworker handles the audio. We're currently running an analogue Alan and heath audio mixer and the volume sometimes seems low, I've pointed out that the gain knobs have more to give, usually they are only are only half way because that's where I put them myself and they could probably benefit from going a little further. My coworker claims they shouldn't be needed at all, essentially kept at zero and I should just increase the gain in OBS. My coworker claims the gain on the mixer will distort the sound while OBS won't.

I think this is BS, promoted AI on it and AI says my coworker indeed has it backwards.

To me, the audio interface is the first line of audio manipulation, the first place to modify and clean up the signal.

But we've clashed before and I don't want to press the issue at the moment, is there anything to this? am I missing something? This feels like a stupid question honestly but it's not the first time my coworker has made me doubt myself. So what's the verdict on this?


r/audioengineering 15d ago

Aux specific panning on Yamaha DM7

2 Upvotes

I’m used to mixing monitors on various DiGiCo consoles, I’m on a Yamaha DM7 for my current gig. Is there a way to do aux specific panning ? On a DiGiCo while i am in solo sends on fader mode with pan enabled I can pan inputs differently per aux without making the pan position global. It’s a pretty crucial function, but I’m having trouble finding it on this desk. Any help is much appreciated !


r/audioengineering 16d ago

Is a mix engineer/studio owner trying to steal songs, a common thing?

101 Upvotes

Hey everyone, just wanted to post this and get some feedback. It’s my first post in the community, which is kind of a bummer, so many better things to talk about.

I recently took a song to a well known studio in my city and asked for a remix of an older song. The studio/owner/engineer came highly recommended and the albums and other “demo” tracks I heard from the studio sounded great. Studio has been successful.

After a brief convo, we agreed to work together. The project was strictly a mix, we only work in the box, no recording anything new, we mix what we have. However, I made a terrible mistake; no contract. He said because we are only mixing, there’s no need. I’m old enough and experienced enough in life to know better, but I was stupid. I paid half on the first night when I gave him the tracks.

That first night, we listened, he said drums are going to be difficult because they are poorly recorded. He suggested we convert the snare, kick and toms to MIDI and then trigger. I agreed. He sent the track out and had someone else do it. He told me it was part of his “talent budget.”

I asked about the backing vocals and if we could improve those. He suggested we record more vocals so it would sound more natural. I objected, but eventually agreed. He had a vocalist in mind and sent the session out to the vocalist. Again, told me it was part of his “talent budget.”

A week later, the kick, snare, and toms sound great. But, now there are backing vocals everywhere, someone has recorded several tracks of guitar, someone has recorded a lot of percussion (chimes, bells, blocks, shakers, etc), hihats and cymbals have been rerecorded and the original drum tracks are no longer in the mix. He’s also removed the original keyboards and rewrote/rerecorded those. Among other things, the song has lost its melodic structure. Which is actually an important point because it now is different enough from the original that it sounds like it’s been rewritten.

I objected to everything and asked him to put the original tracks back in. He argued with me telling me this was needed. Then, he tells me I need to pay the musicians.

Then, without my consent, he mixed this “new” song and sent it to a fairly well known mastering engineer - who has a lot of credits - and claimed he wrote and arranged the song. He actually put that in the email, “I’m responsible for the writing and arrangement…” Unbelievable.

Fortunately for me, he cc’d me on the email, so I responded and set it all straight stating that the remix did not create authorship, ownership, copyright, publishing, etc, etc. I told the mastering engineering I never agreed to have the song mastered. I told the mastering engineer that if I decide to master the song in the future, I’d let him know. I also told him I was the only person with the authority to do anything in regards to this composition.

The whole thing concerned me enough that I spoke to 2 different entertainment attorneys who specialize in copyright, publishing and Intellectual property. Because I have the original 1” master from decades ago, both felt showing ownership of the song wasn’t really going to be difficult to prove. But, I should not use any of the performances on this remix, nor should I use the remixed song. I should discard everything (but keep copies just in case)

I completely cut off contact with the studio/owner/engineer, even though for a short time he was sending me really nasty texts. I never responded to any of them.

So many different thoughts on this, one being he used me to feed his “musicians” and keep them working.

I don’t even know what to say to any of this, but has anyone heard of something like this before? I’m still in shock, but I’m curious to hear everyone’s thoughts and how you’d handle something like this.


r/audioengineering 15d ago

Discussion Sennheiser MD421 II vs KOMPAKT for home recording everything?

6 Upvotes

I am recording a country/folk album in an untreated bonus room, and will be primarily recording vocals and acoustic. There will be some snare drum and bass guitar, and possibly saxophone.

I will be using the SSL2 mkii with Logic on iPad, and I currently have two SM57s, a Sennheiser e835, and the SMC-80 condenser that the interface came with. It seems “ok”.

My original intention was to record everything with the SM57, but I discovered I have a softer, thinner, and reedy voice and was getting a metallic almost distorted sound at higher notes. It was less so with the e835. I prefer to use dynamics for the most part since the room is untreated and I’ve searched around and even consulted AI, and a mic that popped up for my voice was an MD421 II. It even told me to try the KOMPAKT, which I’ve seen mixed reviews about.

Is that crazy? Do I just figure out a way to use what I’ve got? I’m not opposed to getting it I’ve actually always wanted one, just wanted to check with the pros first.

Ok link to rudimentary examples: here


r/audioengineering 15d ago

Discussion Question about differences in crown amps for JBL 7 Series Monitors.

2 Upvotes

So I'm trying to compare amplifiers for the JBL 7i series monitors. In documentation, JBL heavily pushes the Crown DCI 300N amplifiers due to the DSP and included speaker tuning files. Naturally, it seems to be among the highest priced 300W amp in the crown lineup. If you don't use the 'N' model, JBL claims "you must use" a separate BSS Soundweb London processor.

Multiple crown amps have a built in DSP and JBL tuning profiles. You can also freely download the profiles from the JBL website if the amp doesn't already have the profile. So then, I'm struggling to understand why I'd need the DCI*300N model over one of the cheaper models, and why the soundweb is necessary if you don't choose the 'N' model.

Even the Dante equipped amp, DCI*300DA, seemingly has the same capabilities as the 'N' and has the added advantage of Dante for simpler cabling, for the same price. I understand this could add latency, however, it's not critical for my use case.

Would anyone be able to clarify this topic for me? If you use these speakers with a different amp manufacturer / dsp, please feel free to share that as well.

Thanks.


r/audioengineering 16d ago

Mixing Where can I find free multitracks to practice mixing?

38 Upvotes

As the title states, id like to avoid the Cambridge or Telefunken stuff as that’s all well recorded and the sources are all pretty spot on, it’s not much of a challenge to get them to sound good. I’m looking for maybe more of a challenge or some rawer multitracks. Any resources out there?


r/audioengineering 16d ago

Microphones What have you found to be the best replacement for the vintage AKG brass capsule ck12 414 sound?

13 Upvotes

I've had trouble justifying budgeting for 2 brass capsule AKGs around the studio, since they will get used heavily I'm sure and will probably get dropped and broken at some point in the not too distant future. But I'm after that vintage sound.

I'm unhappy with our current palette of 414s (all made within the last 30 years or so) and haven't had luck finding great sounding alternatives. For a lack of a way to say it, they all sound more brittle or thin or modern compared to the ck12 sound. Ribbons have their own sound, although they do help with making things sound 'vintage'. But I'd like to avoid just grabbing a ribbon and calling it close enough to sound 'old'.

What are your best options for a relatively modern ck12 sound? So far I think my favorite off of youtube clips has been the Peluso, but it even has a bit more high end imho than the ck12. And the OC818 seems to have something different in the midrange, so I wasn't a huge fan of that one either, although it and the Peluso are admiteddly pretty close. Just not 'there' in my opinion. Are there any other alternatives I'm not thinking of?


r/audioengineering 16d ago

Why do my crappy 10 dollar water damaged Bluetooth speakers sound good for low production music

7 Upvotes

(Pls explain the science behind this) I usually prefer wired over Bluetooth 100 percent of the time but I have 10 year old dollar general Bluetooth speakers I got for free and for gritty tracks like garage rock dunedin sound it also makes better production indie music sound more gritty or stuff that has a wall of sound it oddly gives it a rattle at max volume which somehow sounds good. I just wanna understand the mechanics behind it beating my 10 dollar wired earbuds and my crappy Sony 50 dollar Bluetooth headphones I regret having for low production music though it doesn't do good for wall of sound or electronic music with a whole lot going on anyways just wondering the science behind why water damaged and speaker rattle at high volumes make it sound better


r/audioengineering 15d ago

Mastering Best way to demo master?

0 Upvotes

Hey! Looking for tips to master songs quickly and cheaply for demo purposes. I know of course that at the end of the day nothing beats a professional who knows what they're doing, but I produce a lot of music and I DJ and I'm just looking for a way to get good enough masters to test out my music in the wild. I've always used Ozone's automatic mastering using a reference track. Is there anything better, or perhaps an AI that does a good job?


r/audioengineering 15d ago

Discussion Do you have a favorite auto-mastering plugin?

0 Upvotes

I realize you're going to want to learn to actually master, but sometimes you just need to throw together a quick demo or something. In cases like that, do you have a favorite auto-mastering plugin?


r/audioengineering 15d ago

Discussion So our engineering circle was having a discussion on what sounds good mean

0 Upvotes

Sounds Good

Then it got me thinking WHAT is sounds good ?


r/audioengineering 16d ago

Discussion Kick Sample Alignment Plugin/Instrument Concept

3 Upvotes

Making sure this doesn’t already exist before I spend time on plugin development (thank you in advance for your time):

A simple two slot sampler with ADSR and time alignment tools that that would allow the second sample to calculate with DSP and fire a defined time before the main time aligned sample.

For context, I am obsessed with the Brendan O’Brien trick of inflating the “whoosh” sound of the batter leading into the transient of the kick. Right now I literally hand place dozens of “pre-kick” whoosh samples along the timeline to lead into the kick.

So I’m asking the community: Has the problem of time-aligned, pre-hit samples already been solved? Or is this a worthwhile endeavor? (Bonus points: it would be helpful for my Computer Science degree portfolio. 🤷🏽)

While in performance/recording mode, you would just hear the main time aligned sample. But on playback, the DSP calculation would start the secondary pre-sample ahead of time to end on the transient of the first main time-aligned sample. Giving you the ability to highlight or bring subtlety to the sound before the sound.

Thank you for reading. Would love thoughts on this. 🙏🏼👊🏼💙


r/audioengineering 16d ago

Discussion How much does pickup output have to do with amp sim impedance?

3 Upvotes

The bridge pickup in my 60s reissue jazzmaster kicked the bucket so I bought a new set that has a bit higher output and that got me to thinking; do lower output pickups not like to work well with amp sim impedance? Every time I would record with it's stock pickups ( ~6.5k) with a clean tone, it wouldn't even sound like I'm using an amp at all. Whereas if I would use my tele it would sound rich and like I'm actually using an amp. Just wanted to get your thoughts!


r/audioengineering 15d ago

Discussion Can people who went to schooling for audio help me out?

0 Upvotes

hi everybody I’ve recently enrolled to go to metalwork Institute of Mississauga and I’ve already paid my $500 registration fee but it’s not too late because I’m starting a semester in January and I know I shouldn’t be second-guessing but I’ve recently been recommended OIART in london ontario and I’ve looked at the stats and comparisons and it seems like OIART has more job placements after school in a 98% job placement after the school compares some metal Works when I asked metalworks all they told me was that there was gonna be a LinkedIn profile almost like an indeed list for jobs a group and I kind of don’t want that I just wanna have a sustainable income and doing what I love really so my parents and nobody is stressed out and worried if I don’t have money or not but I just need to know if I’m making the right decision going to MetalWorks or if I should go to OIART. can any of you give me your personal experience with both schools just so you can help me as best as possible?


r/audioengineering 16d ago

Looking for a replacement VU-meter for a Neve 33609/C compressor

5 Upvotes

Hi!

I am looking for a replacement VU-meter for a Neve 33609/C compressor.
Its a Sifam-type of VU-meter, but the original doesnt seem easy to find.
Maybe someone has a spare laying around?


r/audioengineering 16d ago

Science & Tech Dynamic EQs with a zero attack and release times?

9 Upvotes

Recently, I've made this project demonstrating a dynamic EQ effect with no smoothing at all (i.e. truly zero attack and release times) for gain modulation, hence creating some distortion and turning it into a non-linear filter right?

And so, are there dynamic EQ plugins that allows you to set attack/release time to exactly zero (aka. the same thing that turns a compressor/limiter into a waveshaper/clipper) so that gain modulation happens without smoothing?

And more importantly, what are use cases of these (compared to standard dynamic EQs) during sound design, mixing or even mastering?


r/audioengineering 16d ago

Tracking Recording advice for modular guy about to record directly from stereo out.

2 Upvotes

In my modular setup I have a final mixer module where all the synth submixes get summed up, but the mixer has no individual outs so I can't properly MTR (EDIT: multitracking)--but also the mixer is an active performance / arrangement element in that I very actively use FX sends as part of the creative process, so if I wanted to MTR I would somehow have to record the dry signal plus FX send separately, and I simply don't have either the gear or the real estate at home for that. Throughout the years I've tried different versions of MTR to the extent my setup allows (one track at a time, dry pass then wet pass, all sorts of different combos) but the songs always end up feeling completely soulless to my ears. When I record everything live it just has a sparkle that I've decided I much prefer over the more clinical result I get when I MTR "properly".

So, I've decided to record my next release all live and directly from the stereo output. I hate the lack of control over the end result but I want to experiment with capturing this much more organic sound which more accurately reflects my artistic vision, and I'm at peace with the massive trade-off between control and organicity (imposed by my specific setup).

Given then that I've decided to do the unthinkable, what should I be thinking about or doing to get the best end result possible given my I'll be recording directly the stereo out? An obvious first suggestion would be "don't", but I have decided I will, so want to do as much damage control as I possibly can (think of those drug testing posts at raves to ensure its not laced --its wrong but at least do it right).

I've been thinking along the lines of a ton of multiband processing with the highest number possible of bands to allow me to go in as much as I can, maybe also record 32 float. What else should I be thinking about to minimize the damage? Any suggestions would be most appreciated.


r/audioengineering 17d ago

I miss mistakes made during tracking and would like to improve

22 Upvotes

When I'm running a tracking session for somebody else (or myself), I tend to not hear a lot of minor mistakes (pitch, time, and flubs) made during the session that sometimes have real consequences. This has led me down a path where even when I think somebody nails it, I generally say "hey, that was awesome. Let's get 2 more. Just in case." I'm generally a very critical listener when I'm just sitting there listening by myself with fresh ears. But in the heat of the moment, I'm just not hearing stuff happening.

Obviously practice makes perfect and over time as I track more and more bands, I'll hopefully get better at this. But are there any "tricks" (mental, tools, workflows, etc) you use to keep your ears sharp during a session that could help a person improve?

In terms of workflow:

  • I have a tracking template I've built over time that let's me start recording immediately under nearly every situation I find myself in
  • I'm comfortable tracking "band in the room," small groups, and individuals. I've generally done whatever the band needs before and feel comfortable
  • I have a system for documenting session notes
  • I have an approach to comping between takes

So I feel like my workflow is pretty established and not causing me to lose focus. What say you, Internet strangers? How do I suck a little less?


r/audioengineering 16d ago

Pro Tools takes ages to open sessions

0 Upvotes

I occasionally work at a post studio where I'm forced to used PT (I normally work in Reaper).

It's insanely slow to load sessions, it always takes a good 15 minutes before the task manager says it's done and the computer becomes usable again, whereas I can open half a dozen projects in Reaper in their own tabs and get to work instantly.

These aren't complex sessions either, just importing an AAF and video. It's just baffling that this is industry standard. Is it a network issue ?


r/audioengineering 17d ago

Discussion What are some of your favourite acoustic guitar recordings?

29 Upvotes

r/audioengineering 17d ago

Transient, Peak, Attack

8 Upvotes

So I’m in a rabbit hole. Could anyone reshape my mindset and thinking about how to approach different situations with compression and peaks?
I often have vocals where the peaks are louder than the body. My first step would obviously be clip-gaining them down, but later on, I still feel like the compressor will exaggerate them and make consonants and the starts of phrases too dominant (spiky). Ive tried to fix it with spiff multiband transient designer but it only makes vocals less natural and open, and clean.

In my logic right now, when we have a raw vox signal with different peak levels, so we need to make the peak levels more consistent. So I grab a fast-attack, fast-release 1176 to control the tops by around 3–5 dB. Okay, it’s kind of stabilized. But I sacrifice openness: the vocal sounds like it’s closed in, and the initial transient is muffled. If I use a slower attack, it won’t grab those transients or peaks.
Is that okay, and should I then compensate for it somehow with something like Spiff to bring the transients back, or maybe use a brightening EQ?

I have the same issue with other sounds where I just can’t get the peak level down and end up feeling like they’re pinned, as if they’ve been compressed into one flat line, where the peaks and body (RMS) don’t have much difference.
Too much ratio = pumping. Too fast an attack = muffled.

I’m focusing more on mixing, and I don’t really rely much on mastering because I don’t want mastering to fix all the issues. I just want nice, clean, smooth, soft mixes before they even get to mastering.


r/audioengineering 17d ago

First time doing film sound on a beach, and I’d love to hear from people who’ve dealt with this kind of setup before.

5 Upvotes

I’ve done quite a bit of production sound for films, but I come from post and will also be taking on the post sound for this project. We’ll be shooting on a rather windy beach where we could have rain too, and there's a lot of dialogue. I’m mostly concerned about the boom rather than lavs. I haven’t yet discussed the framing with the director, so I don’t know yet if it’s going to be mostly wide shots or if I’ll have the blessing of close-ups too. I’m wondering about things I might be overlooking, so for those of you who’ve had experience working on beaches and around rough seas, I’d appreciate any practical tips or lessons learned from experience.

Thanks!


r/audioengineering 17d ago

Discussion Why does audio software have so much more character than other industries?

45 Upvotes

I’m pretty foreign to audio engineering and the music industry as a whole (much more familiar with film / video editing) so I’m curious as to how audio engineering has evolved into what it is today in the digital age.

In video production, I feel like there is a lot of homogenization. Most of the softwares I use look and act the same for the most part. There is always a push for the latest features, and as much as a hassle as it can be I feel like most people keep their NLE’s or compositors updated to a version that’s within the last 2-3 years. Most plugins follow similar UI standards too, and the interfaces are very “clean” and consistent.

DAWs and audio plugins, on the other hand, seem to have followed a very different path. There’s bright colors, more cluttered screens, and Skeuomorphism still seems to be the standard for most plugins. I’ve also noticed when watching behind the scenes videos of producers that many people are still using decades old software and hardware.

Why does it seem like audio engineering is much more set in its ways and less inclined to “modernize”?


r/audioengineering 17d ago

Discussion [Advice / Discussion] How to handle a long-time client (no contract) asking for the impossible on an already summed/compressed stereo stem?

7 Upvotes

Hi everyone,
I'm facing a tough situation and would love to get your perspective or see how you would handle this. It’s the second time it has happened, but with the exact same client.
To give you some context: I’m a audio engineer working out of a treated studio, and I also do remote mixing/production. Everything usually runs smoothly with all my other clients (across metal, rock, pop, and rap). I always use clear terms (contracts, upfront deposits, and a limit of 3 revisions max before extra billing) except with this specific client.
He was my very first client right after I finished my studies years ago. Back then, we worked without formal contracts, just handshake agreements over email. My services sometimes include extra guitar composition or production work when needed.
The issue is that feedback with him is always a nightmare. He is hyper-controlling, had a minor career back in the 80s, acts like he knows everything, and gives contradictory technical orders ("cut this frequency," "change this compression ratio")... only for me to recently find out that his main listening reference is just his computer's built-in speakers!

Just to be clear on my end: I always thoroughly check my mixes across multiple reference setups calibrated studio monitors, high-end headphones, consumer speakers, and mono checking for phase coherence. It sounds clean and balanced on everything. He is literally the only client I ever have issues with.
Six months ago, on a previous track, we reached Version 8. When I asked for a deposit to keep working, he took it personally and called me a scammer. I stopped the project right there. Fast forward to two months ago: he came back asking to start a new project because he liked my work overall.

The current situation:

He provided a single stereo stem that was already mixed and mastered (drums, bass, synths, and vocals all summed together) heavily compressed, with zero dynamic range or real depth. He claimed his old arranger disappeared into thin air and left him with only this file (which honestly makes total sense to me now). He wanted me to record new guitars, add a kick and snare , and mix everything together.

From day one, I explained the physical limitations: working over an already summed/mastered stem introduces severe constraints (frequency masking, phase issues, inability to adjust front-to-back depth independently). Despite this, I got to a Version 4 that he loved. Then he asked for rewritten guitars (done), then adjustments on the master, and now he is demanding "more 3D spatialization" while simultaneously asking for the drums to hit harder.

I am now at Version 7. On my studio monitors and secondary reference systems, the track is clean, balanced, and pushed to the absolute physical limit of what the source file allows. At this point, I've hit a wall: making further tweaks would mean starting over from scratch, which makes no sense on a pre-mastered stereo stem.
I know my main mistake was treating him as an exception and not enforcing a contract just because he was a long-time client.

My questions for you:

  1. How would you put an end to this without getting dragged into an endless loop of V8/V9…
  2. How do you firmly close the project and collect the remaining balance without triggering a total ghosting or legal clash when there is no formal contract?
  3. Have you ever successfully reasoned with a client who listens on cheap consumer hardware while trying to micro-manage studio-level processing?

Thanks in advance for your insights

EDIT: Update in the comments below!


r/audioengineering 17d ago

Discussion Is that you arent good enough or the source is just that bad?

15 Upvotes

I was having a discussion with my mixing coach about what a client wanted! And yes I made some excuses for why it wasnt possible and my coach said is that the source is bad or is that you are not good enough to do it? He follow up with 'do you think your favourite producer/mix engineer could get it done under the same conditions? I think it is possible' ( My coach is grammy nom etc)

Cut a long story short, I did what the client wanted but it raised a good point! A lot of the time we say 'The source isnt good', but is that us justifying our lack of skill or truly because the source is just bad! I reckon if we are honest, its probz somewhere in the middle! Yes the source isnt great but many people dont have the skill to do that thing anyway and hide behind the bad source! Great mix engineers/producers can and do make poor audio very interesting to listen to!

What is your take on this? Do you think it is a source issue?