Quote:
Originally Posted by yep
PS questions and criticism are good!
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Great stuff. My own recordings can be described as boomy colored mud embedded in hiss, with ocasional hard-limiting noise. A few items.
"The two most common speakers used in the history of studio recording are certainly Yamaha NS10s and little single-driver Auratones."
Aren't reference monitors, and all little boxes, seriously unfaithful (you're playing bass through something that no bassist would ever play through)? Aren't they just overpriced imitations of bad speakers that the audience uses? And I'm paying for what, the manufacturer's R&D-ing just how /uniform/ they can deliver the mediocrity? Any problem substituting mediocre old KEF or newer Sony bookshelves? Just like an OK soundcard, they too can convey some of the innovative brilliance of a good recording.
"Level-matching" does NOT mean making it so that everything hits the peak meters at the same level."
That's what the red lights on analog meters are for. I get the advice of, don't overdrive an input, and analog was more forgiving, within limits. But what are you really saying to do with this information? How and when do we do the balancing act? Some combination of gaining up the dry-ish strat and/or dialing down the overdriven Les Paul, yes? Limit and compress the high peak-to-average channels, like the dry strat? If so, when? When capturing the performance? At mixdown? Somewhere in between? Dial down the low peak-to-average channels, such as the overdriven Les Paul? Again, at what stage? Which brings us to...
"You have whispered vocals over a full metal band backed a symphony orchestra, with a delicate finger-picked acoustic guitar on stage right. And it's all supposed to sound real, and big, and natural...And the answer is yes, we can do all this...These are manufactured illusions...Reaper and programs like it have practically everything you need..."
We really need to talk about how, including a good number of other things you mentioned in those particular paragraphs. Close mic, eq for problems, compress the heck out of everything? At what stage of the project do we turn raw performances into sausage ingredients? How to reconcile the difference between instrumental talent and talent for making mixable channels?
Thanks for listening.
(first time posting on this forum)