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Post by Chris St'Aubyn on Mar 16, 2016 8:40:03 GMT
Hey ethan, so I have a couple questions about your book. I read your section about the FM synthesis and the DX7. I read that the DX7 was actually a Pulse Modulation synth marketed as an FM synth. Is this wrong? Also you mentioned getting the most neutral mic and then adding color afterwards. I agree with this idea. What are some things you think someone should pay attention to when shopping for microphones (I'm not in the market for one, just curious as to some tell signs of marketing vs fact). Lastly, I know you didn't mention it in your book but I figured you'd have some opinion on this. What is your opinion on Bob Katz's K-metering system? Thank You
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Post by Ethan Winer on Mar 16, 2016 17:50:09 GMT
I believe many FM synthesizers actually use Phase Modulation, which is very similar to FM. In all honesty, I'm not sure what the advantages and disadvantages are of each method. I Googled: fm vs pm modulation but most of the hits were technical with a lot of math. I'll guess PM and FM sound more or less the same, but PM is easier to implement? As for microphones, today you can get good ones for a lot less than we paid back in the 1970s and 1980s. If I were to buy a microphone today I'd choose a known-good brand such as audio technica and buy based mostly on price. You say you have my Audio Expert book. The section "Microphone Types and Methods" explains that omni-directional small diaphragm condenser models are the flattest, but large diaphragm condensers have more fullness (proximity effect) when you sing close up. If it helps, I recorded all 37 cello parts in my video A Cello Rondo using only an audio technica 4033. And for my Tele-Vision video I used only a DPA 4090 for everything. I don't know anything about K-metering other than that it exists. --Ethan
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Post by Hexspa on Mar 17, 2016 1:53:02 GMT
I can mention K Metering insofar as I've implemented it. It's great. You leave your monitors at one level and just get used to how loud something is in your room and you never clip. Technically you level your monitors to 83dB C-weighted slow response with pink noise [edit: filtered pink noise so level isn't influenced by room modes] which plays back at -20dBFS RMS. The idea is that since you're playing this noise back (which is actually 20dB down) at a high volume your music is going to be quieter than that to be "comfortably loud". Therefore you're going to mix at a lower level without ever actually clipping. Basically you turn your monitors up so high that your music never clips because to do so would be too loud in your room. Here are a few links: www.digido.com/media/downloads/category/12-general.html (the noise tones) www.soundonsound.com/sos/may14/articles/reference-monitoring.htm (instructions including calibrating for the psychoacoustic effects of a smaller room) www.meterplugs.com/kmeter (free demo plugin set to K-14 which is essentially K 20 with 6dB less headroom/your monitors are 6dB quieter). I'm using it and it works good. I don't need to adjust my volume levels unless for specific reasons, my music sounds loud and I don't clip my mixes. It's hard to explain but easy to use. Another cool benefit is it's relationship with analog gear. 0dbFS is too hot for analog gear to handle straight up. -20dB is closer to analog gear's optimal operating range so any outboard, including modeled plugins, will benefit from these lower "internal" levels.
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Post by audio97 on May 18, 2016 10:09:28 GMT
A question when you are mixing vocal do what do you start with eq or compression pre or post if this so why.
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Post by Ethan Winer on May 18, 2016 16:32:26 GMT
With vocals (or any instrument), I start with what needs fixing the most. If the volume varies too much I'd start with compression or possibly volume automation. If the volume is consistent but the tone needs work I'd start with EQ. Often you'll put an EQ before a compressor and another one after. Do you have my Audio Expert book? The advice below is from page 224.
--Ethan
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Post by Hexspa on May 19, 2016 5:49:47 GMT
I've been setting up parallel compression channels then EQing the original track, first subtractive then additive - best of both.
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Post by audio97 on May 21, 2016 10:05:09 GMT
Thank very much.
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Post by audio97 on Jun 2, 2016 10:33:07 GMT
Ethan when I'm mixing in a program called Reaper 5.0 Everything sounds dull and dead this also happiness with Cubase what's can do to take care of the promblem
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Post by Hexspa on Jun 2, 2016 14:49:49 GMT
If it's happening in two separate DAWs its probably not the software. Check other things like your interface's settings including software the interface uses or other system-wide applications you haven't checked yet. Check the easiest, cheapest things first (like cables and connections and digital switches) then move on to more expensive complex things. That's how you troubleshoot.
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Post by Ethan Winer on Jun 2, 2016 17:54:10 GMT
Also, a lot of sources simply need EQ to thin out, or brighten up, the sound to be "competitive" with modern pop music productions.
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Post by Hexspa on Jun 2, 2016 23:41:21 GMT
Also, a lot of sources simply need EQ to thin out, or brighten up, the sound to be "competitive" with modern pop music productions. True. Abject39 - why not post a mix? -m
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Post by audio97 on Jun 8, 2016 10:40:11 GMT
Thank you issue resolved. I think I will stick with Cubase
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Post by audio97 on Jun 8, 2016 10:52:03 GMT
Now is there a true audible quality difference in the number of sample's when recording. Because some of my friends believe that recording at 48k at 24 bits is batter then 41k at 24 bits.
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Post by Ethan Winer on Jun 8, 2016 16:37:28 GMT
How old are you? That determines how high a frequency you can hear. Unless you can hear 23 KHz a sample rate of 44.1K should be plenty.
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Post by audio97 on Aug 11, 2016 19:10:09 GMT
I'm having problems mixing trap music becomes of the loud 808 bass drum . Is the a batter way to mix, this type of music.
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