I must say that "natural" and "lifelike" aren't really the adjectives that come to mind when I hear those tracks. It sounds nothing like a band playing in a room. Everything is presented as very close up to the listener, and the width of stereo sources like the vibes and drum kit...

dbfs wrote: ↑Fri Apr 05, 2024 8:34 am Pro Tools is clunky

I'm curious to know why you say Pro Tools is clunky? I've used most of the DAWs on the market and I have never found anything that comes close to it for multitrack audio editing. I also love that you can do pretty much everything in one window.

It's probably just force of habit, but I prefer the clip gain approach over having gain controls on the channels, because the settings are reflected in the waveform display. With a well recorded multitrack you can often get a pretty decent balance by eye adjusting the clip gain settings until the pa...

Pro Tools doesn't have a gain control as such, but it does have multiple ways of achieving the same thing. You can adjust clip gain on a per-clip level, or you could insert a Trim plug-in on the first insert point in every channel.

Sorry OP, but you've invented a new genre of music Really, no. Black metal has been around for at least forty years. And if you listen to the OP's references you'll hear that his track belongs squarely in the genre that they are in. It is perfectly on point as regards the music and the choice of so...

IMO some of the earlier comments fail to take into account the genre you're aiming for. For me things generally sound OK for the genre, but there's some sort of resonance in the bass register that's probably eating a lot of headroom and making it all too mushy for real impact. So first of all I wou...

I think it's hard to know how successful this mix is without having a clear idea of what you're aiming for. Some extreme metal is deliberately very lo-fi. Some is crystal clear and beautifully mixed. This track is somewhere in the middle at the moment. What bands are you referencing? My comments mig...

Also just to say, that 12th fret advice for acoustics is a good starting point but have you tried some more radical positioning? I was surprised recently when an engineer mic’d up my guitar (which has a fair bit of low mid) with an LDC about a metre away at between one and two o’clock from where I ...

Personally, I do a Save As for each revision so that a new DAW file is created, but all referencing the original audio. Then, if I give the client version 8 and they say "Actually, I preferred the snare reverb from version 6," I'll use the Import Session Data feature in Pro Tools to import...

In case anyone's interested, here is the key: A: Audix PDX720 B: Shure SM7dB (used as an active mic in this case) C: Earthworks ETHOS D: Warm Audio WA-87 E: Universal Audio SC-1 with Hemisphere plug-in modelling Neumann U87 F: Neumann U87 (original, not the current U87Ai) G: AKG C414B-ULS H: Univers...

Mike Senior has just emailed me to point out that the main audio examples in the March issue's Mix Rescue article were mislabelled. This is entirely my fault! The remix and the original mix somehow got swapped around. D'oh. Hopefully we can correct this soon, but in the meantime it should be clear f...

Have you selected fader layer A? If the Master button is still illuminated then your fader moves only relate to the master fader layer.

I agree that the ribbon mics picked up too much room sound. As I said in the OP I wanted to get a balanced sound without too much proximity effect so had them quite distant from Drew. But perhaps it would have been better to have them closer and use a low cut. FWIW my own preferences were the same a...

I am sure that many of you have been waiting with breathless anticipation for developments in the saga of Drew's vocal mic. Well, here it is. The first post in Drew's own thread includes a link to a Soundcloud playlist with examples from his own collection of mics. On Sunday he made the trek over to...

I applaud you for exploring what can be done with one mic before jumping in and trying to combine different mics! It's one of those cases where the cure can be worse than the disease. Having said that, if you want the best of both worlds, a single-point stereo mic can be a good option for recording ...

Seconding Matt's recommendation. The remodelled live room at Half Ton sounds fantastic. They have a nice house kit as well if you need it.

Does the 8030 have a truly symmetrical response at the low end? I seem to remember one of the (possibly theoretical) advantages of the MKH30 is that some rivals like the Schoeps figure-8 capsule exhibit different front and back responses at LF?

The subjective level varies a bit between them. On the headphones I have here, my favourites are #1 and #8. Would guess that #7 is the ribbon mic, and I think that would also work OK with some EQ and a pop shield.

Sounds like the space has a lot of potential! Can I ask what the existing floor is made of? If it's concrete, cement or similar, then fitting a floating floor usually offers little benefit either for isolation or acoustic treatment. You're better off keeping it as is and using that part of the budge...

zenguitar wrote: ↑Mon Feb 05, 2024 12:26 pm
Looking forward to Sam posting about his tetanus jab in The Ailment Thread

Andy

Too busy enjoying my post-NAMM bout of Covid at the moment...