I've lectured at Dubspot here in NYC, have a bunch of friends who teach there, and increasingly have mix or production clients who have gone through there. It's a solid resource. You get out of it what you put into it; the folks teaching really know their stuff and are great at explaining it. Do the...

The waves cloud actually works really well. Dl your licenses to either a USB stick or your computer. Haven't had a problem w it at all.

kick needs some energy an octave lower than what you've got going on. less 100hz, more 50.

likewise, too much 200hz in the kick, not enough in the keys.

too much transient info going on in the backbeat, distracting from the synth and thus the emotion of the tune.

^ yep ref. tunes are key.

I find making any sort of dynamic decisions is impossible in headphones.

really just use the cans to mix levels.

for those of you who mix alot, great deal on the CLA classic compressors over at waves.

Pedro Sánchez wrote:This is the essence of why I originally got into music production all them years ago but fuck was the s2000 a killer on the eyeballs and neck.

really, really don't miss my s2000

having been involved in a few sample pack projects, from super-indie up to super corporate: in general, financially no, it's not worthwhile. if you were going to put together something of extreme value--slate digital drums, the vienna instruments, etc-- then yes, you could build your career on that....

se2200. comes with a suprisingly rad shockmount... and is a much better mic than the studio projects joints.

stand. ebay.

panty hose over anything round for a pop filter; glue it onto a gooseneck.

always-- though it's more a tool to see what's going on in the lows and highs, finding that errant thing that's got energy at 80hz or 10khz and getting rid of it so that there's room for something else. just leave 2 bypassed eq's in your 2buss, hipass and lopass, and enable them whenever you want to...

what nowaysj said:

start with the clap and mix everything else around it.

and headroom is your key to an easier mix.

very rarely one or the other if looking to add "bite."

compressor, then transient work before limiter on the drum buss.

also to clarify:

Compressors work based on the change in voltage that's going through the circuitry; transient shapers work based on the RATE of change of that voltage.

it's weird but it's good. sometimes. definntely not bad.

^ pretty sure my old rackmount bass station was smaller than the keyboard one

while the end result is... errr... they did fit a lot of pretty fearless creativity into 10 mins.

benjaminC wrote: Im not switching between monitors though, just whats being sent to them.

exactly.

trust me that a patchbay is not the best solution for what you want. If you don't want a monitor controller, then get a cheap mixer.

a monitor controller is what you want.

they run from crazy expensive (dangerous, crane song) to really affordable (samson).

if you're working at 24 bit, which you should be because it's not 1998, there's no such thing as too much headroom. These days when working up mixes for clients, once i get my kick worked into the mix, i'm generally peaking at around -18dB. That way, when everyone involved wants X instrument louder,...

the arp is great, i use that for... wait for it... arp's a lot. hit record and play w/ the filter, release, etc and you've got an instantly-energetic element for the tune. the white noise is great for risers, hats, drum sounds, etc. lead layers and less-subby basses, absolutely. overall it's a great...

i'm considering getting one just for the pattern editor alone. I use the minibrute on literally every production project; this looks like a great addition...

instant baller status.



3 bills in the states.