Just messing around with 2F big bootie mixes making a new combined mashup. Feel free to dm for a copy to upgrade, improve, etc

https://soundcloud.com/mayorwardproductions/rays_final_master_320kbps-4

Not sure how Warm Audio is ranked , I heard they’re highly great .
But Im deciding between a Warm Audio WA76
or Warm Audio Bus Comp 2 Channel Stereo VCA Bus Compressor.
I’m slowly building a Rack mount and I got these in mind . I know one is mono and the other is obviously stereo. If you guys got other suggestions please let me know or have any warnings of Warm Audio .
I don’t mind plugins but I like to own my things.
I no longer have interest in spending money on plugins.

Hi. I just graduated this Friday with a degree in Sound Technology from ITLA in the Dominican Republic. I had the highest GPA among the Sound Technology graduates. All my classmates are celebrating, but I still haven't posted anything on my socials.

When I was about to start college, I had dreams of helping independent bands and artists in my country who might not have a lot of money, and of helping my church achieve a whole new level of sound quality. But somewhere along the way, while I was still studying, that light started to fade.

Now I'm depressed and questioning my existence after feeling like I've wasted my youth. All my friends are making good money, and I can't even find a job in my field.

AI stole my spark the moment I first heard an AI-generated merengue song in 2024. I knew us music producers had no hope.

On top of that, my institute focused almost entirely on music production. Our electronics class consisted of listening to the differences between types of saturation. I don't know how to solder a cable, let alone anything about electronics.

The same thing happened with acoustics. We were asked to draw a floor plan of our rooms and even design a studio in Autocad, but I don't have the slightest idea how to properly soundproof a room.

The live sound portion of the program, which is practically the only area offering job opportunities in my country, was also taught very poorly. I have no idea how to set up an entire sound system by myself. I barely know my way around the Behringer X32.

I sent my portfolio to a film studio here in the Dominican Republic, and they completely ignored it.

I spoke to my institute to ask whether they offered scholarships to graduates who wanted to pursue a second degree, and to my surprise, they told me they don't offer scholarships to former students. I'm screwed.

I wanted to hear some advice from someone with experience because I can't take all this mental shit anymore. I don't want to end up living on the streets.

I don't know whether pursue a bachelor's degree at a university abroad, take live sound courses here in my country or study a completely different degree unrelated to sound.

Hey everyone! I have been utterly fascinated with Tom Petty's Wildflowers home demo tracks from '93-'94. They have such a roomy vibe; I just love how raw and authentic they sound.

Here are some examples of what I mean:

Confusion Wheel (Home Recording)
Only a Broken Heart (Home Recording)
Leave Virginia Alone (Home Recording)

My budget is around $500-$550 CAD! I was wondering if any of you guys could give me some recommendations or advice to suit my needs?

My current microphone is just a USB Blue Yeti. Not anything shocking, and I don't think it is really the greatest for what I want to achieve. I am aware Tom used two mics, one for guitar, one for vocals + harmonica. I heard SM57s are very good, and that Scarletts are great for the audio interface portion. I already have a DAW, which is Reaper.

Non-gear-wise, how would I go about producing something equivalent to those home demos? To me, his vocals and guitar just sound like simple EQ and compression. I am also curious about how I would go about mixing harmonica to get a similar feel to the demos. They sound very mellow in the second and third tracks I linked.

All the help and support are highly appreciated!

Recommendations for vocal chains

Anywhere I can find vocal chains to tweak ? Any good sources , sites, people , patreons you recommend?

I just need a good foundation point to build off from and customize, and fine paying too

Styles are for rock electronic and jazz, (ableton)

Thanks!

—

P.S I’m aware it’s best to build your own. I’m just looking for a good starting point to heavily customize

Went to Jensen’s website today for the first time in around a month to find it absolutely neutered by Jensen them selves. Product listings, gone. Data sheets, gone. White papers, gone. Direct to consumer sales….. gone. Jensen used to pride them selves as the only transformer company who published the full specs of their transformers and to remove all the information from their website spits in their founders face.

Hi everyone new to post production for audiobooks. Just picked up a gig where I master the audio for these long form books . What plugins are you guys using to hit the levels on the long form audio format? The levels they want me to hit are -16lufs and -2 true peaks. Is there a way to batch this for the files? At the moment I have 50 files and they are all supposed to hit this range. Am I overthinking it? What is the easiest way to do this? I am on pro tools of that makes a difference. TIA for any help.

We are talking up to 8 hours of sustained 130-140F. Obviously acoustic guitars need to go and probably my synths too. I'm still unsure about the GIK acoustic treatment. I'm very unsure about my E8XT monitors and Kali IN-5's.

I normally mix and listen on headphones (Sony MDR) because I have pretty severe high frequency hearing loss (roll-off around 1kHz coming to a complete cut-off point by 4kHz. Though lately, I've pulled out my old monitors (JBL 305's) and started experimenting with those again because I really like the stereo imaging of speakers.

My point of frustration is this: I really like not wearing headphones, and I really like how stereo sounds on speakers, but the problem is that it seems like whenever I'm trying to mix (or even just listen to my collection) on these monitors, I can't hear nearly as much detail as I can on the MDR's. The sound is much darker, and transients don't poke through very much.

That said, I fully acknowledge that my room is untreated. It's probably a good 16x20x14 bedroom and the floor is concrete. There's tons of stuff along every wall, so I'd like to think that helps a little bit, but probably not much.

So I guess I'm posting to ask, what do y'all think is the issue here? Is my hearing probably just too bad for me to use monitors effectively? Or do these problems sound like typical untreated room symptoms? Do you think I just need better/different monitors? Turn the volume up more? Skill issue? Would love any suggestions from more experienced people

EDIT: In case it's relevant, I'll just mention that I have noticed that my listening experience is much better when I EQ up the mids in iTunes' equalizer. It's not perfect, but it does seem to sound remarkably closer to how I'm used to things sounding on my headphones. I'm not sure if this is a clue that it may just be my ears

Hello everyone!

I have enough money set aside for essentially one solid online course, and I want to find a course that will be most worth my while.

For context, I work full time teaching basic music production at both the primary school and university level. I live in the LA area and love attending synth expos and meetups, etc. I also produce my own music and hope to record my first album within the next year or two.

I really just want to take my knowledge to the next level. The main courses I am considering are mixer brain from Jeff Ellis, Greazy Wil’s courses (particularly the recording one) and of course Think Like a Synth from Anthony Marinelli.

My question is, would any of these (or other courses be worth the $400-500 they cost, or would I be better of learning for free online and putting the money toward something else?

Thanks!

Is there a program or plugin that can analyze the pitch of multiple samples at once?

I have a ton of one shot kick and snare samples, and it would take forever to check each one separately.

The way I do it now is to load a sample(s) to an audio track, then translate it in Melodyne. And then I have to go thru each one individually and rename the file....

Thanks.

Hey everyone,

I'm a 21-year-old software engineering and computer networking student based in Europe, and I want to break into the live sound industry. I have a massive passion for acoustics, physical properties of sound, mixing, and system engineering. I also have a tiny bit of practical experience from organizing a one day music festival, underground raves, playing in amateur bands live and music production in Reaper as a hobby.

I have a direct connection to the owner of one of the major regional rental companies (they do big arena shows, corporate events, and festivals). I’m planning to sit down with him soon to ask for a foot in the door.

I want to be brutally honest with myself: I am 100% aware that having an IT background doesn't make me an engineer on the field. I suppose that for the first year or two, my job will be pushing heavy flight cases, wrapping muddy cables at 4 AM, and doing the dirty work which I am completely fine with. I understand that college teaches you practically nothing and I have a strong will to learn. I am brutally afraid of monotonous office IT jobs.

However, my long-term goal is to leverage my networking and software knowledge to become a System Tech / Audio Network Engineer.

Since all of the experience I have gathered during college is basic networking, systems administration and coding (basic as in elementary network setups, wiring, OSPF and VLAN configuration, DNS, ...) I suppose that the learning path will be rough.
I am looking to narrow down to a structured and well tested learning path.

I’m currently planning to get my Audinate Dante Level 1 & 2 which will be my first ever certs.

My questions for the experienced folks here:

1. What does the learning path look like for someone transitioning from pure IT/Networking into System Tech roles?
2. What are the absolute "must-know" concepts in acoustics and audio electricity that my IT college didn't teach me?
3. Which software should I start messing around with at home? (e.g., Soundvision, ArrayCalc, SMAART, SysTune, ...?)
4. How do I balance my IT brain with the reality of the field so I don't end up the "boss's little boy"?
5. This one I feel is the most important for me. Should I first brush up on specific details and knowledge needed for the role before actually contacting the boss or should I just do it and potentially learn there?

Any advice, book recommendations, YouTube channels, or harsh reality checks are highly appreciated. Thanks!

I've been going back and forth on this lately, especially with multi-mic drum recordings. It's pretty easy to look at the waveforms, move everything into alignment, and assume you've made the drums tighter. But sometimes the result sounds smaller or loses some of the character that made the kit sound good in the first place. I've been experimenting more with phase correction instead of just automatically time aligning every transient. The difference can be pretty noticeable on the kick and snare, particularly when you're balancing close mics with overheads and rooms.

For those of you mixing drums regularly, what's your approach? Do you always time align? Do you manually adjust polarity and phase, use a plugin, or mostly trust your ears and leave the timing alone? I'm particularly interested in workflows that improve low end punch without making the whole kit sound unnatural.

My audio interface does that, a 2 db headphone output channel missmatch.

Woud you care or just ignore it because it's too little? The inputs don't have any missmatch

Edit: Turns out the entire audio interface suffers from this channel missmatch. I’ve just returned the audio interface to Thomann. The engineers there told me that it was a manufacturing issue with my unit specifically. Once a new unit arrives, I’ll purchase it again to see if it’s fine or not

I recently was able to upgrade my set up and got some outboard gear. I got to test it out with one of my clients but I wasn’t getting signal in pro tools, here’s the set up:

Condenser mic > neve pre amp (mic level) with 48v > distressor compressor > Apollo x4 (I thought the pre amp brought up to line level) > MacBook

So basically I wouldn’t get signal unless I put the apollo on mic input, but I thought the preamp brought the signal to line level. What am I misunderstanding. I appreciate any help! Also first time posting on Reddit. Prepared to get roasted lol also now I’m scared I fucked up the mic. Still worked though, I kept the level pretty low to avoid any pops n stuff.

Hey everyone!

I've recently been getting more serious about audio engineering, specifically mixing vocals, and I'm looking to start investing in professional plugins that I can use long-term.

I'm currently deciding between the FabFilter Mixing Bundle and the Horizon Waves bundle I've been looking at.

Since I'm a university student, I can potentially get FabFilter's Mixing Bundle for around $365 with their 50% educational discount, compared to the $299 Waves bundle I was considering. However, I'm sure you're aware of the massive amount of plug-ins in the Waves Bundle (which I assume I wont use)

I'm particularly interested in mixing atmospheric R&B and darker, more experimental music, similar to The Weeknd's earlier work. I really enjoy spacious vocals, heavy reverb, delays, and creative vocal processing.

One of my biggest concerns with Waves is their Waves Update Plan (WUP). I've been reading a lot of criticism about having to pay for updates after the initial coverage expires, especially when upgrading operating systems or switching computers. Since I want to build a collection of plugins that I actually own and can reliably use for years, I'm wondering how much of an issue WUP really is in practice.

My current plan is to purchase the FabFilter Mixing Bundle as my main set of mixing tools, then gradually pick up individual Waves plugins during their promotions rather than buying an entire bundle filled with plugins I might never use.

However, I'd love to hear from people who have experience with both companies.

• Is FabFilter noticeably better in terms of audio quality, or is the main difference the interface, workflow, and flexibility?
• How has your experience been with Waves' Update Plan (WUP)? Has it actually caused you problems or additional expenses over the years?
• Would you personally choose seven FabFilter plugins for $365 over a larger Waves bundle for $299?
• Are there any specific advantages to Waves that you feel FabFilter doesn't offer?

Ultimately, I'm trying to build a reliable plugin collection I can use for years on both Windows and Mac, without constantly having to pay for upgrades or plugins I don't need.

I'd appreciate any advice, especially from people who have worked extensively with both companies. Thanks!

Hey everybody, I'm OP and I've been into audio engineering as a hobbyist since I was 11, so about 16 years.

I'm told I'm really good at it and had about a year of professional experience before deciding pro work wasn't for me.

My two friends are avid music listeners, these guys are the fans every artist wants.

The opinion: Music DOES have a right and wrong, it's just that sometimes the wrong becomes the right but only if it's done right.

The context: The blown speaker, clipping 808, clipping distorted vocal sound in HIP-HOP was not intentional, it only became a trend when avid listeners didn't care that it was mixed like shit. THEN professionals applied the right techniques to get a quality mix using the inspiration. Only then did it become right but it's still technically wrong, just with a right way to do it.

Their Opinion: There is no right or wrong in art period due to the fact that it's art.

Free tape machine plugin, released today, haven't tried it but excited to give it a go.

https://www.patreon.com/analogobsession/posts/themachine-173345538?utm_campaign=patron_engagement&utm_source=post_link&post_id=173345538&utm_id=7553d3e5-e1b2-4866-8e8b-ae594e42b481&utm_medium=email

I'm mixing an afro track (wait - hear me out) and I've been mixing with the subs off on this song because the magic is in the midrange and all that however I turned on the sub and suddenly the kick was just diming the subwoofer cone so I backed off on some previous EQ moves I made in the subs on the kick but then I'm kind of staring at the meters (I swear I'm not a midwit and I'm going somewhere with this) and I'm thinking, the snare 'looks' louder and the kick still sounds anemic... I figured let me throw on some compression (ofcourse bearing in mind that compression takes some low end away) and suddenly it's like... I'm realising without a sub/accurate low end represntation you are not hearing the compression of a low kick.

Yes, you can compare the isolated subfrequencies and use references as a safety net however every mix is done in a different room on different speakers and then likely mastered on a different system. So now you're what, trying to achieve a mastered sounding mix? Seems risky if done without forward thinking because suddenly you might be in a situation where there's no room for the mastering engineer to actually utilise dynamics. This is where things like faux mastering and master bus processing can help because then when your mix that's going into compression works against a master, you know when you send the uncompressed version to a mastering engineer, they'll actually have room to work. Ofcourse mixing into that also can have it's problems if again you're not forward thinking. That's two seperate philosophies though, mixing for mastering and leaving nothing for mastering.

Nonetheless, I digress. Low end is what mastering engineers complain about the most besides overall dynamic range. I got REW and a measurement mic and everything is calibrated to give me a flat response. Room is lightly treated. And I'm just thinking like... hearing low end is so much more critical than we give it credit. I'm one of those people who can't build a mix on headphones but don't mind detail work and checks on them so keep that in mind. I'd argue a sub is not something you should just mix into necessarily either. I'm of the old philosophy of starting the mix on the small speakers, spending majority of time on near/mid fields and then moving up to the far field monitors until you find a good medium that works. I also check my mixes on IEMs, open back headphones, bluetooth speakers and mono PA speakers. Getting that low end wrong though bites you in the mastering stage because now it needs to be fixed and that means you're giving up some of the intentionality which is the point of a mix. I'm starting to think this is why people's mixes fail in the car - because the car has subs! - not to mention masters are compressed or limited for loudness. If you're clever you can definitely mix in the car to dial in the low end but that's a topic for another day.

I think I've been taking my sub for granted because low end translation stopped being a problem when I got subs. The meters didn't necessarily matter - I like loud snares - however they helped me confirm there was a problem. Without the sub it'd be a game of listen in the car or other capable system, make notes, try something that works and call it a day instead of the ideal of being able to actually dial in something that sounds great. Worse yet if you never check and the balance of your mix sounds fine meanwhile the mastering engineer sets off his car alarm when the beat drops after the intro. Obviously this works for me. I mix a bit of everything. I know it certainly doesn't matter as much in some genres. I know some people can't mix with subs or prefer mixing on headphones. Anyone else very pro sub though? Thoughts and critiques welcome.

EDIT: Since some people seem to think I write for Sound On Sound, I put some paragraphs in there. Just ask nicely. Some of y'all are rude as heck x_x

Hey everyone! I'm working a new track of mine, but I just could not get it to sound this big.

The reference song

I have no idea what I'm missing, like what type of reverb should I use? where should I use them.

i’ve been trying to replicate this exact effect https://youtube.com/shorts/sf0wOue0yEo?si=vBwdoHY_Ya8TDvlV ..I asked a couple of freelance engineers to do it and all they did was slap reverb on the voice and call it a day 😭. It sounds like mud. I even tried throwing a random cathedral reverb and adding a basic delay, but it just doesn't feel right. ps Im not an audio engineer, i just make videos and edit both video and audio on davinci

And why? What are some other nice bits of functionality that it has as well? I use Pro Tools.

Hello, writing here on a very rainy lazy Sunday. Before I burn more hours on this I want to know if I'm even able to achieve what I would like;

I have a model 24 connected to a Lenovo X260 and that's running the latest Reaper version inside Linux Mint. Essentially, my instruments sound great when monitored from their Tascam channel, the return audio from Reaper into channels 1 and 2 is, well, weak, flat, very meh. I don't think it's possible but can the EQ in on the Tascam record into Reaper or do I need to EQ in Reaper too? Or am I missing a trick?

I’m looking into converting a home office (technically a bedroom) into a home music room. While I will be doing some rough recording (somewhere in quality and enthusiasm between recording into a phone‘s voice memos and something semi-professional), the main purpose will be to make music being provided sound best while listening live.

I have voice lessons in a small room that has rather minimal acoustic treatment: some burlap coffee bags with foam inside on the wall across from me (and maybe behind me). Nothing on the side walls other than a mirror. Instructor sitting at a piano between me and the back wall. Nothing fancy, but I swear my acoustic guitar sounds so much better than anywhere else. It’s so full and rich sounding. I don’t know how to describe how the room sounds generally other than like muted and soft. It’s hard to really judge how much better/different my voice sounds. But the room sounds less echoey. For what it’s worth, I think my instructor said the interiors of the walls also had some soundproofing elements when constructed. The door is very heavy.

So, my primary goal is to get things sounding closer to that room for live listening. Getting the room to sound okay for recording is a secondary consideration. For what it’s worth, I recorded myself into a mixer into an iPad through a condenser mic in my small walk-in closet facing racks of clothes, and I though the audio quality was more than adequate if not great. I record mostly as a learning tool for myself. It doesn’t need to sound professional, just a relatively accurate representation of my voice.

The room is about 10’x10’ with an 8’ ceiling. I took some. I can’t seem to add pictures of the room. I can try to describe the layout if that helps. I’ve looked into acoustic treatment articles and most focus on panels relative to the monitors/speakers as part of a recording studio. I’m not sure how to translate that to my situation. And when it comes to recording/mixing, I’ll probably mostly use headphones when listening back.

So, any advice on how to acoustically treat the room so acoustic instruments sound natural and rich would be wonderful.