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AlexJ last won the day on December 13 2016

AlexJ had the most liked content!

About AlexJ

  • Rank
    ADJF Hardcore User

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About Me

  • Bio
    Well been djing a while, practice makes perfect.
  • Equipment
    Cdj 2000 x2
    DJM 800
    hd25 II
    korg microkey
    alesis vi61

    All the speaker things

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  1. isnt there only 4 episodes? watched all of them. were fantastic
  2. the rent to own serum thing is a pretty decent deal imo. as for splice in general i feel the rest of the features are either too pricey or not applicable unless your have a few collaborators who also use all the same stuff as you
  3. make sure at the very least they are duel driver. if they are single driver you might as well use iphone earbuds.
  4. iems are great but not super comfy to wear for more than a couple of hours if your not used to them
  5. surely you mean 'GQ man of the year' award?
  6. yeah get a decent set of headphones. i do most of my arrangements in shitty sennheiser can (because they are comfy af and can wear them for hours) then when i want to start nailing things out i use the studio monitors. Find its much easier (and more comfy) to do things at low volume in headphones. if im trying to block out noise and produce ill put in my shure inner ears (SE535, couldnt recommend them enough for the pricepoint). its good to get in the habit of mixing across a few set of speakers but have one main set that you have a good understanding of. For example, i know my sennys get alittle bass boost around 150hz so I put a little notch eq on my master when i use them (only about 1.5db) to just limit the 'booming' of my kicks. Now when i jump over to the monitors everything sounds flat (which in this case is a good thing). As Labrat touched on earlier. learning your tools and skill development is still the key
  7. fuck this sounds boss. the dimension mix or strobe is just insane. makes an appearance anytime i can play dnb these days
  8. You do bring up some very valid points however i will say this. Big electronic artists (not just bands), still send out all their stuff they intend to release to be mixed and mastered. Why should we (who may or may not want to emulate their success) do the same (we're talking the likes of flume, tommy trash, david guetta etc. fuck even sound nerds like justice and moby still have mix engineers. about the only person i know who is quite against sending music to mix engineers is Deadmau5 and im 90% sure that when he was signed to EMI he bitched and moaned about sending his stuff to engineers). Im not saying they themselves wouldnt have decent sounding mixes through making their own stuff but when your so close to a track from its start to its finished i would say its VERY difficult to step back enough to provide an effective mix that does the track justice. Artists (in my opinion) who do a large number of compositions are too close to their work, too familiar with the minute nuances that they spent hours to create when an experienced engineer will know not only how a track should sound in relation to the body of music currently out but how to make a more complete product for the artist. artists can only take tracks so far, while some may see that as a limitation i think its important for an artist not to loose scope. If artists are only making stuff for themselves sure, their mixes are fine. But their is a reason they release music, to please others, make them feel how they felt, make money whatever.. and assuming the artists is all knowing in their ability to achieve these goals...man that artist would have to be the most egotistical mofo out. mix engineers are important not only for their ability to polish a track over time (throughout the entirety of the track) but almost as an extra sounding board (at a more technical level) than say another artist or fan. then again. mixing has a bigger impact for larger arrangements. so i guess it should be assessed on a case by case basis.
  9. mm maybe for experienced artists who get a temp mix pretty close but idk ive sent a number of tracks to get mixed/mastered in recent times and to me even though im writing something different everyday the mixes seem to make the most drastic differences imho. Maybe i just need to get another 100 tracks under my belt your not wrong in that you can get people to do cheap quick masters. but so could the presets of my ozone suite that i downloaded for free 4 years ago (dont stress guys i bought the full version shortly there after). i think there is more subtly in mastering which its true requires years of practice to get good at but in the end its only the last 3% of a track. i would argue a good mix is 12 of the last 15%. granted this has turned into a mix v master debate and im soz guys my bad
  10. if your going to fork out the money, get a track mixed properly rather than mastered. there is a reason mixing costs 2-3x mastering.
  11. Not that I know a hell of alot about mastering but in my experience its all about tiny adjustments. If you have to do anything big (boost/cut anything by more than 2db etc) go back and fix your mix. this includes the drive on saturators, auto gains on compressors etc. If you have to put more than 1db boost on your limiter to match reference you've fucked something up somewhere, go back and fix it. Mixing makes it glossy, mastering makes it shine. Long chains mean your compensating for something that should have been fixed in the arrangement or in the mix. Make sure you do your arrangment/mix/master in separate projects to ensure your not focused on anything other than the job at hand. I know ive been in mixes in the past and tried to make arrangement adjusts. its bad to get in that habit. keep things separate. Long chains generally only happen with super experienced mastering engineers trying to a) fix a problem that should have been addressed @ mix and wasn't or b ) making lots of subtle adjustments to progressively build a particular sound profile (for example, mastering a track for record pressing). How a track is made determines musical vision, how a track is mixed determines musical feel and how a track is mastered determines its use. Mastering is 8/10ths making it loud enough for the medium you want to use the music in.
  12. standard djm (800,850,900nxs) should allow you to add reverb to a mic channel
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