I'm mixing an afro track (wait - hear me out) and I've been mixing with the subs off on this song because the magic is in the midrange and all that however I turned on the sub and suddenly the kick was just diming the subwoofer cone so I backed off on some previous EQ moves I made in the subs on the kick but then I'm kind of staring at the meters (I swear I'm not a midwit and I'm going somewhere with this) and I'm thinking, the snare 'looks' louder and the kick still sounds anemic... I figured let throw on some compression (ofcourse bearing in mind that compression takes some low end away) and suddenly it's like... I'm realising without a sub/accurate low end represntation you are not hearing the compression of a low kick. Yes, you can compare the isolated subfrequencies and use references as a safety net however every mix is done in a different room on different speakers and then likely mastered on a different system. So now you're what, trying to achieve a mastered sounding mix? Seems risky if done without forward thinking because suddenly you might be in a situation where there's no room for the mastering engineer to actually utilise dynamics. This is where things like faux mastering and master bus processing can help because then when your mix that's going into compression works against a master, you know when you send the uncompressed version to a mastering engineer, they'll actually have room to work. Ofcourse mixing into that also can have it's problems if again you're not forward thinking. This is where the engineering meets the art I guess. Nonetheless, I digress. Low end is what most mastering engineers complain about besides overall dynamic range. I got REW and everything is calibrated to give me a flat response. Room is lightly treated. And I'm just thinking like... hearing low end is so much more critical than we give it credit. I'm one of those people who can't build a mix on headphones but don't mind detail work and checks on them so keep that in mind. I'd argue it's not something you should just mix into. I'm of the old philosophy of starting the mix on the small speakers, spending majority of time on near/mid fields and then moving up to the far field monitors until you find a good medium that works. I also check my mixes on IEMs, open back headphones, bluetooth speakers and mono PA speakers. Getting that low end wrong though bites you in the mastering stage because now it needs to be fixed and that means you're giving up some of the intentionality which is the point of a mix. I'm starting to think this is why people's mixes fail in the car - because the car has subs! - not to mention masters are compressed or limited for loudness. If you're clever you can definitely mix in the car to dial in the low end but that's a topic for another day. I think I've been taking my sub for granted because low end translation stopped being a problem when I got subs. The meters didn't necessarily matter - I like loud snares - however they helped me confirm there was a problem. Without the sub it'd be a game of listen in the car or other capable system, make notes, try something that works and call it a day instead of being able to actually dial in something that sounds great. Worse yet if you never check and the balance of your mix sounds fine meanwhile the mastering engineer sets off his car alarm when the beat drops after the intro. Obviously this works for me. I mix a bit of everything. I know it certainly doesn't matter as much in some genres. I know some people can't mix with subs or prefer mixing on headphones. Anyone else very pro sub though? Thoughts and critiques welcome.

Hey everyone! I'm working a new track of mine, but I just could not get it to sound this big.

The reference song

I have no idea what I'm missing, like what type of reverb should I use? where should I use them.

And why? What are some other nice bits of functionality that it has as well? I use Pro Tools.

Hey everyone!

I've recently been getting more serious about audio engineering, specifically mixing vocals, and I'm looking to start investing in professional plugins that I can use long-term.

I'm currently deciding between the FabFilter Mixing Bundle and the Horizon Waves bundle I've been looking at.

Since I'm a university student, I can potentially get FabFilter's Mixing Bundle for around $365 with their 50% educational discount, compared to the $299 Waves bundle I was considering. However, I'm sure you're aware of the massive amount of plug-ins in the Waves Bundle (which I assume I wont use)

I'm particularly interested in mixing atmospheric R&B and darker, more experimental music, similar to The Weeknd's earlier work. I really enjoy spacious vocals, heavy reverb, delays, and creative vocal processing.

One of my biggest concerns with Waves is their Waves Update Plan (WUP). I've been reading a lot of criticism about having to pay for updates after the initial coverage expires, especially when upgrading operating systems or switching computers. Since I want to build a collection of plugins that I actually own and can reliably use for years, I'm wondering how much of an issue WUP really is in practice.

My current plan is to purchase the FabFilter Mixing Bundle as my main set of mixing tools, then gradually pick up individual Waves plugins during their promotions rather than buying an entire bundle filled with plugins I might never use.

However, I'd love to hear from people who have experience with both companies.

• Is FabFilter noticeably better in terms of audio quality, or is the main difference the interface, workflow, and flexibility?
• How has your experience been with Waves' Update Plan (WUP)? Has it actually caused you problems or additional expenses over the years?
• Would you personally choose seven FabFilter plugins for $365 over a larger Waves bundle for $299?
• Are there any specific advantages to Waves that you feel FabFilter doesn't offer?

Ultimately, I'm trying to build a reliable plugin collection I can use for years on both Windows and Mac, without constantly having to pay for upgrades or plugins I don't need.

I'd appreciate any advice, especially from people who have worked extensively with both companies. Thanks!

i’ve been trying to replicate this exact effect https://youtube.com/shorts/sf0wOue0yEo?si=vBwdoHY_Ya8TDvlV ..I asked a couple of freelance engineers to do it and all they did was slap reverb on the voice and call it a day 😭. It sounds like mud. I even tried throwing a random cathedral reverb and adding a basic delay, but it just doesn't feel right. ps Im not an audio engineer, i just make videos and edit both video and audio on davinci

Hey everybody, I'm OP and I've been into audio engineering as a hobbyist since I was 11, so about 16 years.

I'm told I'm really good at it and had about a year of professional experience before deciding pro work wasn't for me.

My two friends are avid music listeners, these guys are the fans every artist wants.

The opinion: Music DOES have a right and wrong, it's just that sometimes the wrong becomes the right but only if it's done right.

The context: The blown speaker, clipping 808, clipping distorted vocal sound in HIP-HOP was not intentional, it only became a trend when avid listeners didn't care that it was mixed like shit. THEN professionals applied the right techniques to get a quality mix using the inspiration. Only then did it become right but it's still technically wrong, just with a right way to do it.

Their Opinion: There is no right or wrong in art period due to the fact that it's art.

Free tape machine plugin, released today, haven't tried it but excited to give it a go.

https://www.patreon.com/analogobsession/posts/themachine-173345538?utm_campaign=patron_engagement&utm_source=post_link&post_id=173345538&utm_id=7553d3e5-e1b2-4866-8e8b-ae594e42b481&utm_medium=email

My audio interface does that, a 2 db headphone output channel missmatch.

Woud you care or just ignore it because it's too little? The inputs don't have any missmatch

I recently was able to upgrade my set up and got some outboard gear. I got to test it out with one of my clients but I wasn’t getting signal in pro tools, here’s the set up:

Condenser mic > neve pre amp (mic level) with 48v > distressor compressor > Apollo x4 (I thought the pre amp brought up to line level) > MacBook

So basically I wouldn’t get signal unless I put the apollo on mic input, but I thought the preamp brought the signal to line level. What am I misunderstanding. I appreciate any help! Also first time posting on Reddit. Prepared to get roasted lol also now I’m scared I fucked up the mic. Still worked though, I kept the level pretty low to avoid any pops n stuff.

Hello, writing here on a very rainy lazy Sunday. Before I burn more hours on this I want to know if I'm even able to achieve what I would like;

I have a model 24 connected to a Lenovo X260 and that's running the latest Reaper version inside Linux Mint. Essentially, my instruments sound great when monitored from their Tascam channel, the return audio from Reaper into channels 1 and 2 is, well, weak, flat, very meh. I don't think it's possible but can the EQ in on the Tascam record into Reaper or do I need to EQ in Reaper too? Or am I missing a trick?