I route both tracks to a group, and use the group fader for overall level automation, and might automate up/down the compressor fader to add/remove energy in the different song sections. Of course! I haven't done it this way, but I will now - I think it's the simplest way to get where I want to be ...

Confident piano - that bit at the end where you slow it down and then take your time bringing it to a close is skillful and fun. Really like it. You could do this live successfully - they'd be onside by the end of the first verse.

An insert compressor with wet/dry will do the trick. Having browsed the articles Wonks linked to (one said post-fader and one said pre-fader depending on what you want), and having read Hugh's post, I think that's the way to go if I want to bring up the level of quieter signal in a track. However ...

I can't figure this out - help! If I do parallel compression using a send, should the send be pre- or post-fader? If it's post-fader (how I've been doing it until now), then turning down the fader on the track means the signal is hitting the compressor less hard, right? Wrong? Or should I just use ...

Eddy Deegan wrote: ↑Thu Jan 23, 2025 6:37 pm Wonderful! There's nothing I'd change about it myself.

Thanks, Eddy. Reassuring, because I suffer from the post-mixing version of buyer's remorse. Woulda, coulda, shoulda.

OneWorld wrote: ↑Thu Jan 23, 2025 4:23 pm That's good, really good and I say that straight off, instantly likeable, and as the song went along I got more drawn to the light, and I like the way the lady's vocals get more powerful, she got mothballs!

Glad you like it, despite the shortage of Mexicans.

Will, Kwackman - cheers!

Dynamic Mike wrote: ↑Thu Jan 23, 2025 2:00 pm Laid back, dark & tasteful. It's what draught Guiness would sound like if it made a noise.

Draft Guiness is pretty much my favorite drink in the world. In twenty-five years, that's the kindest thing anybody's ever said about my music.

amanise wrote: ↑Thu Jan 23, 2025 9:20 am Lovely! Sounded very well balanced to me, very wistful and well performed. I loved her dead pan delivery of the backing vocals!

Good 'un!

Thanks. Yes, there's the contrast between, not only the voices, but the delivery style. Somewhere on the scale from effective to funny, I hope.

Mix comments welcome.

https://youtu.be/BvPqvkkk4nI?si=ucAPytRDvlvJw4uk

The only thing that keeps me from mariachi is lack of a band. :lol: Mariachi....can't get enough of it, here's 2 mariachis in the making, these two would bring a smile to the face of a condemmed man https://www.youtube.com/watch?v=i2i0LHatDeY Thought of you: https://youtu.be/Kzw9k-NAwJ8?si ...

Yes, it's there and I'm glad it's there, but in answer to my original question, all those factors Hugh listed on page 1 are more significant. I admire Wonks' 'just get it and forget about it' advice, though. Not worth fussing.

An audio buddy says he can hear a subtle difference in how the transients are being handled by each interface as well.

Interesting you mention Focusrite, I used to use one of their Firewire interfaces, and thought the "sound" of it stood out in a very positive way that I hadn’t heard using other interfaces which I’m not going to mention, these things can be very personal... It's not good to try and "describe" a sou ...

Where does it pop up? In the browser?

I've got the same exact iOS 16.7.10 and I've never had that popup.

It starts all nine lessons and carols but grows quickly. It's interesting how it hangs on melody, but what moves me is the sound and the chord changes.

Good work.

Also, line inputs are often padded down and sent through the mic pre. You’d need to find a block diagram for the interface (if one exists) to see if the line inputs are separate entities or not. But if not, it generally makes bugger-all difference to the sound. "When Inst is disabled (white) you c ...

RichardT wrote: ↑Wed Jan 08, 2025 8:38 pm Bear in mind we are not just talking about the converters but also the headphone amp. These do vary. Whether it’s enough to matter depends on your phones.

"Sounds great with any headphones."

I'm sure they wouldn't lie, right?

I thought things might get complicated with things like impedance or something. You know how there's IQ and EQ? Well, perhaps AQ ought to be a thing, too.

Apparently unrelated question (but not really): I can run a microphone into an external preamp and then from there into an interface line in, correct?

Well, I've considered ins and outs and pres with my interfaces, but never drivers. So, with drivers, the issues are low-latency performance and prompt, reliable updates so that things keep working?

Wonks wrote: ↑Wed Jan 08, 2025 4:29 pm For the fairly low price of a basic Focusrite or a new Presonus with higher spec preamps, why not just make the change and then stop worrying about it and get on with making music?

I appreciate the situational intelligence of your response. Psychologically sound on sound.

So, to be clear: the same source recorded on the same day with the same mic and preamp in the same room and afterward played back through the same monitors will sound virtually the same whether I use a Presonus Studio 2/6 or an RME Babyface? And what if I record ten or twenty sources using both ...

To you in a treated room, listening to uncompressed files directly in your DAW? Or to your listeners, watching a youtube video via their airpods on the bus? Maybe, and almost certainly not respectively. ;) To me and my collaborators, listening in treated rooms and through headphones. As for ...