This is brilliant on SO many levels. :lol:Lawrence said:At the listening position. Anything you measure related to it possibly affecting your mix decisions should be measured there since that's where you'll be. I have an area that propagates standing waves in the back of my control room that I left there on purpose. More bass for the producers and clients. Less requests of "more bass".
I trapped it a little but not as much as I could have.
Yes, quite in depth, but he has a REALLY good ability to explain things in simple terms.He really does. I'm only on the first page, and already I'm wishing I'd seen something like this five or ten years ago.
This is brilliant on SO many levels. :lol:
EDIT - on the second page. Considering we're hitting what I in my finite experience would consider relatively "in depth" stuff, at least for the typical home recorder, and there's another 38 pages to go, I definitely need to sit down and read through this whole thread sometime when I have more time. This is potentially an awesome resource.
I'm having the same experience, but things got alot:hsquid: better when I got my KRK's and a sub that plays well down to 30hz. I also find myself basing my stuff around the bass tone/drums more these days instead of around the guitars. You know, start with the basics and work your way up.EDIT #2 - he keeps coming back to "trust your ears," and I think rightly so. On a personal note, I've never been 100% happy with my mixes - the low end always sounded kind of mushy and indistinct. I figured it was just the bass guitar, which in part it certainly was, but I've made a lot of progress there lately and have a much better bass tone than I used to, and I'm still not satisfied.
:yesway: I let my friend borrow my jcm800 because I found it a bit daunting to get started with mic positioning and all that jazz. Just using the podX3 is satisfactory at my current level.So, what I finally did that made a world of difference was finding a guitar sound that I both liked and thought would be attainable with my gear, and then really sitting down and doing some comparative listening to my tracks and the recorded finished product. Obviously this isn't exact, even after balancing levels you're still hearing mastered products against raw tracks, but what really shocked me was just how bright modern metal guitar is. I'd been dialing in a much more balanced, darker tone, but really most hard rock and metal guitar I was comparing my mixes to was thinner and brighter, and cut through the mix more than it fleshed it out. A few EQ tweaks, some mic repositioning, and suddenly what I'm hearing is significantly better.
Blindfold:yesway:Sometimes, if a mix isn't working, just really sitting down and honing in on specific parts of a mix that DOES work can really be an eye/ear-opening experience. :yesway:
It is not a fair comparison to listen to two sources unless they are at the same average level. See if this sounds familiar:
Joe Blow records some stuff. Doesn't sound as good as his favorite records, sounds a little dull. He adds some highs. Sounds better, but a little thin. Adds some lows, sounds a little better, but a little hollow. Adds some mids, sounds a little better, but still sounds kind of harsh. He adds some reverb, sounds a little better, but now he notices it's clipping. So he turns down the levels.
Now it sounds a little dull, so he adds some more highs. Better, but a little thin, so he adds some lows...
Repeat until 2am, go to bed, and wake up to find that the "improved" recording sounds like a vortex of shit.
Now replace every instance of "better" above with "louder" and see if you get the idea
:lol:Nowadays every musician is supposed to sound like a sonic super-hero. The bass player who earns his living as a professional octave pedal with tattoos and who occasionally plays a leading seventh must be clearly heard, for all to appreciate his seventh-playing prowess in all its glory. The punk guitarist palm-muting quarter-notes in the key of the fretboard dots has to have sixteen tracks lest the chunka-chunka fail to overwhelm and subdue any aspect of the listener's central nervous system. The DJ whose sheer artistry allows him to hold a headphone with a single shoulder while simultaneously operating a fader and playing records must not be made to feel like a second-class citizen by having his performance obscured by more pedantic forms of music.
Already a guy doing that... Cockos Confederated Forums - View Single Post - Why do your recordings sound like ass?Skimmed through the first page, will really be reading this when I get home from work tonight. :yesway:
Its a bit overwhelming reading through the thread like that, I may try to make a PDF file and if I can get dude's permission to upload it i'll let you guys download it if you want.