I forgot to mention it, but the stereo image was also wider on the CD, and this did affect the dynamics-experience. More stereo attenuates all the stereo effects (obviously), so special effects in general are more audible. However the more mono version on vinyl seems to pack more punch, which I ...

Thanks! Although I could just paste a track with white noise in my DAW of course. I'm quite surprised by the effect of noise, and the effect of actual fully silent parts. In EDM you can have passages where drum computers have complete silence, which would never happen with real drums (there is ...

It could be mechanical ’rumble’ noise or if the speakers were feeding back the more powerful low end to the cartridge. ;) Both recordings have a strong cutoff at 22~ 23Hz, but the vinyl had some residue below it, which I filtered out. I suspect it is wow and flutter, because if you listen to those s ...

I'd record the output from the dj mixer. ...but it's probably a pointless exercise. Most of the differences will be far too subtle to spot on waveform or spectral displays. Unfortunately that seems to be right, after doing the recordings there is little I could find on waveform analysis. It's weird ...

The track that I want to compare is this one:

https://www.youtube.com/watch?v=SWy-XpOFe8o

I was assured the master for digital and vinyl were both the same except specific processing for vinyl, there is no difference in the mix and master what is sent to both the digital as the vinyl distributor.

The TLDR is way below. As a hobby producer who along the early years dabbed around with drum and bass, also playing vinyl as a DJ, occasionally I pull out the set to mix my productions with professional released vinyl and nowadays also digital sources. I came across an old vinyl track, which I also ...

Still... if you have these sort of ideas, why not just try them out for yourself and measure the differences in LUFS and do some blind tests to see what you think of the differences subjectively? Just how long a 'quiet section' would you need to graft on to a typical 3m30s pop track to make an ...

Thanks for all the replies, much appreciated! I was wondering about this, as I still struggle with especially EDM productions to get it equally loud (in perception) with commercial ones, even though average dB in LUFS are the same and suspected these elements would make it louder. So effectively ...

Thanks, with silent I actually meant adding more quiet parts of music, not entirely silent. Without having a look I'm not sure they would be -10dB below the average, I'll get back about that.

I'll have a read on the BS1770 standard, that might provide some insight

Perhaps I don't fully understand the question, but to me it appears the TS is worried about how the media upload sites handle the 3 separate parts and adjusting it to the same average loudness, which breaks up the balance between these three. If that is the case, by my knowledge you can only avoid ...

First of all, I think LUFS is a good thing. All that maximising to comparable commercial releases has more than often made my tracks sound worse rather than better. If I however understand the material and interpret a few tests with audio files correctly, it appears to me, you could increase the ...

I used to use HD650s but found they were a little 'tight' on my head. For long sessions, I'm also after comfort. These days I use Beyer DT880s, which I find very comfortable, suitably neutral - well let me explain - they have a bit of a HF lift - but that helps my ageing ears. I have the HD650 and ...

I gave it a wide 3dB boost at 700Hz (on the mixbus) and this produced a better overall balance. When boosting it, did you notice any particular parts that really came up and improved that balance? I guess in those instruments you could try to fix an overall 3dB increase. Perhaps by EQing or just ...

yet there's a real interest in re-introducing all of the stuff that engineers in the "good old days" worked so hard to overcome and avoid. Yes, but they worked in an era that is defined by that sound. I had the luxury of moving from analogue to digital. I too noticed that a super clean digital ...

One other thing that took me a while to figure out: noise. When recording with outboard gear you also record a lot of noise. I initially thought this is unwanted, so the more digital, the less I had to deal with it. I found noise has a glue-like effect on multitrack recordings, mostly noticeable in ...

For what it's worth, I did use to re-route through (cassette) tapes to make sound more pleasing. In the early days I started out with Tascam and Marantz multitrack cassette recorders. There I noticed that slightly overdriving the input signal evened out the dynamics and had a very pleasing 'drive ...

Thanks for all the suggestions and feedback everyone. To the question why it was working live...not entirely sure. I think you are more forgiving when listening to a non-repeatable live song and I suspect the PA has something to do with it. Also live the guitar drowns a little in the mix and is ...

awjoe wrote: ↑Tue Sep 21, 2021 5:51 pm What is it about recording that produces masking when the live situation doesn't produce masking?

That is a valid question here and for which I must owe you a reply until I have done some more listening. I'll get back about this one.

I wish they did. Some big band guitar players are not so sensitive to the needs of the ensemble! Grant Green, however, used to play with an almost acoustic sound where the string noise was a big part of his sound and it had very little body. Yes, but Grant Green's sound was particularly bright and ...

Thanks for all the comments. It's mostly been a job of choosing where to compromise yesterday. Cut a bit off from the Rhodes without making it noticeably skinnier than on the other tracks, bass a little more subby (strange how scooping out the 300hz range often works so well with bass). Guitar EQ-ed ...

I'd probably start with some automated EQ on all the competing instruments, ...*knip* ... should also give you a bit of space without being too obvious. That is a very good advice, thanks. In general I didn't have much editing to do on these tracks, the musicians play very well and had their sounds ...

Thanks, the comments are much appreciated. Sounds like the arrangement really needs reworking to accommodate the instrumentation more effectively, and then a new recording done. That, or greater compromise in the tonality of keys, bass and guitar. oh the struggles, if I would change the tonality of ...

I'm mixing recordings of a friend's band, but in one of the tunes I'm really struggling with getting the guitar to fit in the mix. It's a jazzy tune, where he is playing a semi-acoustic jazz guitar lead with a lot of octaves, similar to the sound of Wes Montgomery/George Benson style of playing. The ...

So in fact, you are cutting out (not totally of course) the fundamentals of some of the lower notes of the bass guitar. 40 - 80Hz is low E to E one octave up. There can be a lot of playing in that range :). Even though the fundemental frequency is there, it is only part of the whole sound that is ...