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Found 5 results

  1. I've noticed all the tracks submitted to Ocremix have pretty ridiculously loud mastering. Sometimes it really works for the piece, sometimes it doesn't. Is it possible for me to submit more dynamic work? Talking around -16 RMS-ish.
  2. Hi, I wanted to let everyone know what kind of rig I've been using and ask other members of the community for some advice/feedback regarding iOS recording and production. Does anyone have any experience with this? I'd love to hear about mobile music production from people other than YouTube. lol As far as my rig goes, I have an iPad mini, running through a Focusrite iTrack Dock (anyone familiar with Focusrite would like to know that it is a cousin of the Scarlet as it uses the same mic preamps) with lightning connector allowing me to record at 24-bit/96kHz and get some really good sounds. If there are any other users on the forums that produce with iOS tech, I'd love to hear about it! I'll list my setup (with links) as it stands below so you can get a better idea of what I'm working with. Tracking/Audio Capture: 2 Samson CL8 Studio Condenser Microphones (I use other mics too, but these are the ones that get used the most) Focusrite iTrack Dock iPad mini Harmonicdog MultiTrack DAW Final Touch Guitar Amp Simulation: BIAS Amp BIAS FX Synthesizers: SoundPrism Caustic Drum Machine/Loops: Caustic Now, at this point, I could get pretty redundant as there any many different ways to use each of the apps to get a different result, but the main thing I wanted to share was that I use the inter-app audio support of the Positive Grid apps (BIAS FX and BIAS Amp) within Multitrack DAW to get my amp sounds and often use the effects bus in the DAW for reverb/delay as they are relatively high quality. I can use BIAS for guitar and bass guitar. SoundPrism does not have inter-app audio support nor does it have AudioBus support (I don't know about SoundPrism PRO, though... haven't used it) so I am using an external device (iPhone 4, baby!) via 3.5mm to 1/4" cable into my line-in port of the iTrack Dock. This comes in handy for a lot of things like my chaos pad (SynthPad, which also does not have Audiobus support). Those of you familiar with recording via iOS will know how valuable AudioShare can be, and that is the main way I take drum loops/samples from Caustic or other DAWs (like GarageBand) and import them into MultiTrack as it is a much better DAW with good EQ, Reverb, Delay, Compression, and editing options in a very simple, user-friendly setting. Not the most complex or feature-packed DAW on iOS (not like Cubasis or Auria) but it does a good job for very cheap. Once my project is done, I bounce the track, export it to Final Touch, and start with several of their mastering presets and tweak them to my specs. I have the option to export the whole track in many different file types, bitrates, and have the option to upload directly to Dropbox, SoundCloud, email, etc... BUT Final Touch is also great for mastering tracks BEFORE they hit the DAW. Sometimes I'll send my drum track from Caustic (which may include live automation, synths, drum samples, etc...) and want it to sound a certain way before I mix in my live tracks (guitars, vocals, saxophones, hand percussion, etc...) and will give me a better idea of what to listen for and edit properly. THEN I'll bounce that, and master the whole track, making less-drastic edits to my master, and have a more coherent sounding track. This is just scratching the surface of what is available to artists via iOS and I may have said a lot of redundant things but I wanted to share what I do with others who haven't experimented with iOS music production/creation before and get some ideas from others who have been doing it longer/differently than myself. Thanks!
  3. When you are producing material with a wide stereo field, you are bound to lose some gain due to stereo phase cancellation. I try to mix my stuff so that the gain is lost more or less equally across the frequency spectrum, so I get a similar sounding mono track to my stereo one. Generally (and I say that because as you know for every rule there is an exception), I have a mono kick, a snare that's close to mono on the low end and a bit wider at the top (but not much), and everything else is mixed to taste but so that the only real change when converted to mono is that the drums are a bit more prominent. Obviously, things in the sub ~74hz range are completely mono so that I don't end up with no sub bass in the mono mix. I use "Haas effect" (delay based) widening sparingly, and only on the full frequency range (excluding drums and sub bass because they get funny). Most of my prominent delays are 1:1 time wise for L/R For this same reason(mono compatibility and delay complications), I try not to go crazy on the 'verb as it leads to mono mud. Occasionally I will pan things (for an effect or what have you) but I My question is,, as far as electronic stuff is concerned: 1) amidoinitrite? 2) what is an acceptable level of overall gain loss? I try to lose no more than 3db of RMS gain MAX and generally am able to get more than a wide enough sounding piece, but I'm always looking to improve....thoughts/tips/tricks for a wide mix?
  4. Hi, I am brand new to the forums and recording (I have been messing around with Mixcraft 6 for the last few years, even manage to produce a few covers and originals). My question is: What is the standard for producing remixes. I have read the forums and watched tutorials and the main program that I have seen is FL Studios. Is there some specific stuff you can do in FL that you can't in other programs? (I have used a demo of fl years ago but only poked at it) It's also more affordable than the mainstream programs such as Logic and Pro Tools which I would understand why it's used the most. Also what is most used for mastering? Any help will be accepted Thanks! - Matt
  5. Might already be a thread about this but I have to ask. What is your stance on the loudness war? Sure, most of us out there don't mix our tracks to clipping/overcompression levels, but I bet most of us get the track sounding as good as possible - while being as loud as possible. There is a volume knob. Why not use that? Is it to fit in with other track volumes? It is just because its "common practice"? In some cases, are we slaves to what are considered good production practices? Does that cloud our judgement? What do you guys do?