ectogemia

Samesies. I think that's where the reverb comes in. High frequency reflections don't make it very far before dissipating. Lower frequency ones will reach the ear with fairly intact amplitude, as far as I know.

Omg, we're twins. I love my Beyerdynamic DT-880s. The only complaint I have is the impedance is very high, so their maximum output on most systems without headphone amps isn't very loud, but it's not like they're quiet or anything. Plus, higher impedance supposedly leads to a clearer high end (so audiophiles tell me), and I'd say that holds up to my experience with them. Sennhesiers, on the other hand, have never impressed me. Yep, yep. AKG is just a bitchin' brand overall. Plus, almost all their products look super sleek and awesome. Also, I used Sony MDR-7506 for a year and a half. They're very affordable and VERY good for the price. $75ish, if I remember correctly. You'll lose a bit on the lows and low mids when you monitor on other systems, but otherwise, they're winners. For mixing purposes, isn't a closed back a bad thing (or at least not optimal)? There are minor reverb and phasing issues with early reflections coming off the ear cups of closed-back headphones. Or am I missing something? You've been around the block longer than I have, so maybe you've got some knowledge here I'm lacking But from what I've read, semi-open or open back headphones are the way to go for mixing in quiet environments.

Ah, ok. Gotcha.

The compression I'm talking about is intended to control the dynamics, not to "control the dynamics." What other kind of compression is there? What point are you even trying to make here, man?

The best basses to compress are usually acoustic/electric basses (and by electric, I mean bass guitar, not synthetic basses) since their decay is very rapid. A mix will almost always benefit from a little compression on basses like that, but you've got to have a very long attack, as long as 60-80 ms, to preserve that characteristic pluck on real basses. Layering them with a sub works wonders, too. But yeah, I'm with NutS_Man in that synthetic basses usually don't need compression since you can solve a lot of presence issues with just their volume envelope. And god, yes. Some light sidechaining of the kick (and perhaps snare in some genres) into the bass + notching the bass at the fundamental of the kick and/or snare is a super transparent way of adding just about all the kick and snare clarity you need apart from compression for additional presence. You may have to notch your pad or other low-mid-heavy instruments as well to get maximum snare clarity. I reaaaallly can't overstate how important notching eq is in the grand scheme of fitting all the parts of your mix together best in the frequency spectrum. If ya ain't doin' it, you people, do it.

Parallel compression is a way of adding some bonus decay to sounds, especially percussive sounds, but you can use it for anything. That extra amplitude in the decay of a sound makes it more present, louder, and slightly more aggressive-sounding. The idea is to have a dry signal and a wet signal (parallel compressed signal). You will use the send's mix knob to adjust how much parallel compression sound comes through. Basically, the way I do it is as follows: 1. Send the track to have parallel compression added to it to some other mixer insert. Solo the send. 2. Add a compressor to this send. 3. Set the attack to 0 ms or nearly 0 ms. Open the attack slightly to add some snappiness to the wet attack if you want, not necessary. Remember that the idea is to add a lot of decay, so squashing the transient is the goal here, but it's ok to let some come through for attack presence. 4. Set the release to 100-300 ms. Tweak based on the style of song you're working on. 5. Set the threshold to something pretty low. This is totally variable. 6. Set the ratio to a heavy, limiting ratio to really squash the send's signal. Something like 10:1-20:1 will work. 7. Add enough make-up gain to restore the original peak volume. Turn the compressor on and off to see where the old and new peaks are so you can match them. 8. Turn the send's mix knob down to 0, unsolo the send, and listen to the track while slowly turning up the send's mix knob until you get the added presence you're looking for. It shouldn't take much.

Just thought I'd pop in and agree with those of you who think timaeus needs to think more before he posts, especially when offering critiques. It's not that he doesn't know what he's doing -- his mixes usually sound pretty good -- it's that he comes across as a know-it-all, and that looks baaaaad for him when he's offering overtly wrong advice/criticism at the same time. By all means, keep offering critiques, but do so more tactfully and only do so when you're sure there's actually an error and when you're sure how to fix it. If someone disagrees with one of your critiques, just deal with it. OCR family therapy 2013.

Actually, that sounds like fun. DO IT.

On piano, quite often. 4/4 Celtic

Mine take between 12-20 hours, usually, but if you've followed my music over time, you've probably noticed, that I almost never write two tunes which sound even remotely alike, so I'm constantly operating outside my comfort zone and constantly experimenting. That adds a lot of time to the creative process.

Yes, and with a little mixing work, I expect both my tunes so far to make the cut.

Saying this isn't metal because it's SNES-y is like saying chiptune jazz isn't jazz because it's chiptunes. This is metal, yo

Actually, kinda. The transition into the clinical part of dental school didn't go smoothly for me since I had a bunch of mishaps at the beginning of the process. So my confidence was sorta shot from that, I wasn't able to lift, I was having some marital issues at the time, and yeah... all that stress sorta came together to destroy my appetite and sleep + gobs of bonus cortisol put my body into a VERY catabolic state. It was just the worst timing for all these things to happen at once. And, of course, I'm a moderate hardgainer, so I don't hold onto the muscle quite like some people do; gotta keep up with the training and diet to a T in order to have success in the gym. On the bright side, I lost probably 50% or more of the fat I gained while bulking. Huzzah!

Sounds legit to me except one little pissant correction Complex carbs are technically sugars, but in nutritional vernacular, carbs are the real umbrella term, then it goes to complex and simple carbs, and "sugar" falls under simple carbs. Complex carbs include primarily starch and glycogen. Basically, for your carb intake, stay completely away from simple sugars except in fruits (which should still be eaten as only a small part of the diet). Eat ~150 g of complex carbs on workout days (should be 3-4 days per week) and < 50 g on rest days, ideally no more than you need to feel and perform well. Eat lots of proteinaceous food like meat to replace the calories from carbs. You'll feel awesome, shed fat effortlessly, and never be hungry again. It's a nice thing.

It's only because you have impeccable taste. Thanks, baby <3 edit: and I'm down for a listening party after Breaking Bad tonight

HARD MEN 2.0 is all capitals, Shariq. This is absolutely crucial.

LINKU Enjoy. Feedback? Cold Man Enker's Theme

Subbed. Since almost no one voted for my track the other week, I thought I'd pull a 180. Hope you like MMX-inspired synth metal.

I started when I was 22, and I'm 24 now.

I pulled a muscle in my hip playing Ultimate Frisbee (minor injury) and stress fractured both of my forearms because I broke my cardinal rule of only doing compound lifts to prevent injury. Here I am with two technically broken arms now, and I'm a surgeon. Guess if that makes my 9-5 more fun. Go ahead. That's right! It's doesn't! So I've been taking time off to heal. It's been almost a month, and the hip is 100%, but my arms still need to heal a bit. Ugh. I must have lost 15 lbs by now, maybe more. I look much smaller and feel much weaker. It really sucks to see my effort melt away like that, but it was a hard lesson learned about how NOT to train. Don't push it if you feel pain (not discomfort, but pain), folks, especially during a biomechanically unsound movement like an isolation lift. I had a ton of positive momentum with my gains, and a few unnecessary barbell biceps curls just wasn't worth the risk. I was looking forward to being huge for MAGFest and outlifting OA, but that'll have to WEIGHT (lol!) til NextNextMAG, I think I've got a lot of ground to make back up soon.

You're gonna be real mad when I tell you I can play guitar fairly well but I consciously chose not to record anything in. Can you deal with that Brandon? CAN YOU?

I'm writing 9-bit SNES metal. Soundin' sweet ;o