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This sticky is really showing its age, with the last problem using PT 6.3 (I wonder what the final result was? Sounds complicated but if the whole session worked at 44.1 incorrectly, it would also work well left alone and clocked correctly at 48k, with no work necessary to fix anything). I don't rem...

And yet the world was bowled over by 16-bit 44.1kHz when CDs first came out in the 80s. Such amazing clarity and detail! It's like the performers are right in the room with you! Really? Listeners can be persuaded to believe all sorts of things.

Metal guitar sounds are already compressed down to a saturated range for the tone of the amp and guitar. I've heard the best and classic distorted guitar tones with no more than an SM57, a mic pre, and some minimal eq. To answer your question, it doesn't need mastering to be achieved.

FRIZEYED wrote:

i just do this... i dont know.

So much better than trying to explain micing this and attaching that.

One thing I've noticed working around live sound engineers, they have a whole different array of mics they choose from, and they all sound great, the ones chosen that is. Live performances have to sound great on the spot, and many live mic choices tend to take the sound through a step or two toward ...

Or the drummer could show up with this

The sound mixing on this video was very exciting to experience!

I don't like badmouthing anybody, especially someone supposedly so accomplished as this Lanois dude. But, I'm over it by about ten years. He does good work, at least the good that you hear about, but people tend to ride his dick a bit too much, especially if they only know of him, not know him perso...

So who doesn't have a waveform zoom button in 2011 and can actually work on music these days?

Digital cameras were good for some gear, since some assistants didn't really document the setting correctly when they had to draw a line in a knob graphic. But, the different parameters still have to be recalled in case they need to be manually dialed in.

percussion boy wrote: Fun to watch him at work, rapping with Eno, etc..

I didn't know they did rap.

apropos of nothing wrote: Also, for the record, Radiohead sucks. There is nothing revolutionary about them. They're just very sneaky copiers.

Can we just have a new thread about this?

I'm with you. Bands bore the hell out of me except on rare occasions. Maybe I share this visual-sound thing with you. When I listen to Albini stuff it tends to sound, or look, like mashed potatoes, served over nine courses, with occasional ground pepper on top or a garnish. If the songwriting is phe...

Well, here's what's always worked for me. First I use the zoom controls to maximize the waveform display, then I normalize all the files to -0.1 dBfs so I can make sure everything's one big undifferentiated block of digital ink. Then I process all the files with the "reverse" plug-in, so I can do a...

MoreSpaceEcho wrote:before pulling all the faders down, try the eno/lanois trick of playing the next song with the board still set up for the previous mix.

This is the best thing ever when all of your tracks are in the same place.