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AUSTRALIAN DJ FORUMS

AlexJ

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Everything posted by AlexJ

  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
  13. i dont understand this. whats the point of all the screens if it still needs a laptop for media? i mean, sure close it for safety and all that but idk seems like some pointless bs to me
  14. i just mean that stick to your set time, too early and your the ass that is cutting off someone else's set, too late and your lazy and dont care enough about your own. There are some times when your happy to give them a few more minutes (i remember i played a gig recently where it was the young guy before me's first gig and he was absolutely killing it so I was like 'fuck it' and let him have 10 more minutes) and times when you just want to get started asap. As long as you try to remain professional things generally work out. If they wont let you start then let them go and make a note of it to management. If its a big gig continue to urge them. If they arnt doing right by other artists its funny how quickly those people dont get booked again.. definitely agree with labrat though, making your presence felt is incredibly important but it is key that you avoid being perceived as a nuisance. Generally a hi and a handshake with a quick glance at your watch is enough to communicate your here for business but that no one needs to stress.
  15. Stick to your set time, physically take over at the time you should. best to have a couple words with the dj before you, a polite dj will ask you where you want to start and mix to get you closer, also giving you a track with a particularly long outro etc so you can get yourself sorted. remember it can be alittle awkward for you as long as it doesnt seem awkward to the punters. they shouldnt realise whats going on If the sets are completely different, use your wide function and start at a breakdown like labrat said. can basically filter out whatever was playing and then speed/slow your track down to reqd tempo in the next 4 bars. Breakdowns are good for tempo changes (providing you have key lock on) because the lack of percussion makes it really easy to disguise large change. I often use a technique similar to this to go from say 90bpm to 128. or 140/150 to 100. As long as the tracks have a similar theme you can make almost anything work. Obviously only do this if you can mix from whatever they were playing and lets be honest (without trying to sound too rude), if your being payed to play at a club or event you should be able to mix across a number of genres/tempos. It may not be your niche but its a fundamental skill. If your particularly worried about what the dj before you will play, simply prepare 4-5 songs your happy to start your set with across a number of tempos. that way you are prepared for wherever the dj before you finishes up.
  16. erhhhhmagerddddd terccchbarrr
  17. dont forget that gain difference actual vinyl wont sound as loud as a digital output that is compressed af.
  18. Yeah I've found the lfo tool isn't great for interesting tempos or busy mixes
  19. ive looked through quite a few now and admittedly picked up lots of little things. especially mix related. really depends on where you get it from. Ive had a couple that sound fantastic on the vid/sc link whatever and then i open it up and its a bunch of frozen audio tracks like wtf as if im going to learn shit off of that. be careful to look out for the plugins you need to have as well. ive seen a couple with huge lists of plugins that i skimmed thinking i had all the major ones and then opened the project to find a whole lot of useless shit. not to sure about house/disco/techno but for a couple of the future bass/trap/bigroom sorta ones ive seen they do some pretty interesting stuff mix wise that i wouldnt have thought to do if i couldnt pull it apart (mainly listening to what individual channels sound like in isolation. thing ive found was that i was not nearly harsh enough with my eq'ing in the past because i too often listened to individual tracks in isolation and then tried to make a lot of good sounding things fit together. listen to shit in the mix and then iso was really fascinating)
  20. Not sure bout underrated but i know a number of producers who've never heard of it. Glitch 2 https://illformed.com/ I love this little guy like a small child. I havent made a project in the last 18 mths that doesnt have it. great for gates, tape stops (my personal favourite and go-to for this), so warm distortion. all running from a linked step sequencer. the great thing is it can run all its effects in parallel which is fantastic if your trying to do some complicated shit. Admittedly there is alot there i don't use but for something that cost me less than 30 bucks at the time (deal if you had the first one) i have more than got my moneys worth. The big reason i come back to it time and again is its simple ease of use. although by this point i pretty much know it inside and backwards
  21. Ok so i know a few people are pretty attached to their side-chaining and the methods for achieving a decent mix because. Im curious what method you use, why you use it and have you tried other methods or tools and what was your 2c. Ive recently made a couple of tracks where i've run all side-chaining elusively from a couple of return tracks in Ableton. In my mind my mixes sound a little cleaner because of it (obviously less instances of the same side chains on channels means i'm less likely to tweek things individually muddying the mix a little), its also less taxing on my CPU which is a bonus. Im commonly running a side chain from a kick and snare (and sometimes hats if they sit relatively in the middle of the stereo field for whatever reason- but only light) and do find having my side-chain auFX rack (generally a couple compressors and an eq) across 5-15 channels cumbersome at times. However occasionally i do feel the need to chain certain channels differently but as mentioned above the overall result isn't always better because of it. Now this could easily be because i don't have a significant amount of mix experience. who knows. Although i have a number of compressors i primarily use the good old Ableton one because its side-chaining is simple AF and its load is relatively low on CPU (especially since sometimes there is 40 odd compressors running). However given the opportunity to now side-chain using a return track i feel like i might employ a couple of others that give me the warmth/pump/snap feel that i'm after if it means i only have to have a couple compressors total running for the entirety of my side-chaining. What method do you guys use? Thoughts on using return tracks? I feel like im pretty liberal for my return tracks with any given project generally running 6-9+ running various reverbs,delay,sidechains,washes etc /walloftext
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