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#1
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Next-day blues
Several times now, I've completed a mix or tracking session, and the
next day everything sounds completely different, and I notice flaws I hadn't noticed before, whether sonic or performance. Some of this is due to ear fatigue, or pure inattention, but I'm hearing it even on short, simple sessions. I'm sure I'm not the first to experience this. At home, I try to never finalize a mix before sleeping on it, but at school, with rigidly enforced studio schedules, that's not an option. What tricks have people developed over the years to counter this? -- Jay Levitt | Wellesley, MA | Hi! Faster: jay at jay dot eff-em | Where are we going? http://www.jay.fm | Why am I in this handbasket? |
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#2
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"Jay Levitt" wrote in message ... Several times now, I've completed a mix or tracking session, and the next day everything sounds completely different, and I notice flaws I hadn't noticed before, whether sonic or performance. Some of this is due to ear fatigue, or pure inattention, but I'm hearing it even on short, simple sessions. I'm sure I'm not the first to experience this. At home, I try to never finalize a mix before sleeping on it, but at school, with rigidly enforced studio schedules, that's not an option. What tricks have people developed over the years to counter this? Don't second guess yourself too much. Go for what feels right at the moment and remember... even on the most time consuming and well rehearsed mix, there will always remain a list of, "should have...," "could have...," and "why didn't I..." things that will come to the minds of the best mixers. Performance issues are probably a sign of being picky... as we should be. But if they made it past you to begin with, they can't be all that influential. Fatique can easily be a culprit, but more than likely (at least in my case) when this happens, it's forgetting for a moment too long what the final objective should be, and straying into the experimental. While those experiments may work, there isn't a chance to change your mind later. Sometimes it's really a lot easier than we might try to make it. Then again, maybe we could simply work on shuffling priorities as pertain to those 'rigid schedules'... rules are made to be broken, especially if you think you're finding the current results to be derrogatory. Why do today what you can put off until tomorrow, if it's all for the better? Then again, maybe you just sobered up & that's the difference. ;-) -- David Morgan (MAMS) http://www.m-a-m-s DOT com Morgan Audio Media Service Dallas, Texas (214) 662-9901 _______________________________________ http://www.artisan-recordingstudio.com -- Jay Levitt | Wellesley, MA | Hi! Faster: jay at jay dot eff-em | Where are we going? http://www.jay.fm | Why am I in this handbasket? |
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#3
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"Jay Levitt" wrote in message
Several times now, I've completed a mix or tracking session, and the next day everything sounds completely different, and I notice flaws I hadn't noticed before, whether sonic or performance. Some of this is due to ear fatigue, or pure inattention, but I'm hearing it even on short, simple sessions. I'm sure I'm not the first to experience this. At home, I try to never finalize a mix before sleeping on it, but at school, with rigidly enforced studio schedules, that's not an option. What tricks have people developed over the years to counter this? Don't do it all on one day. And as the other poster said - don't be too hard on yourself. As the creator, you're more aware of any flaws than virtually anybody else. A little anecdote. My dad laid the bricks (and everything else) in our house. He built it from scratch including digging the basement with a pick and shovel, blue clay, hardpan and all. One day he told me that he started laying the bricks at a certain point on the house (smart man - he started in the back), and that the work there was actually pretty poor. I'd lived in the house for about 14 years at the time and never noticed. I went around and looked, and you know what, the brickwork was a little worse there. I don't think anybody else ever noticed - they looked at the whole house. |
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#4
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On Fri, 25 Feb 2005 02:43:59 -0500, Jay Levitt
wrote: Several times now, I've completed a mix or tracking session, and the next day everything sounds completely different, and I notice flaws I hadn't noticed before, whether sonic or performance. Some of this is due to ear fatigue, or pure inattention, but I'm hearing it even on short, simple sessions. I'm sure I'm not the first to experience this. At home, I try to never finalize a mix before sleeping on it, but at school, with rigidly enforced studio schedules, that's not an option. What tricks have people developed over the years to counter this? I used to spend way too much time getting a good blend of all the tracks only to wiggle one and have the entire heap collapse. Been since methodically spending more time rendering good quality sounding stand alone intruments. These seem to stand up better when brought in with the other components--- While twiddling with relative levels & pans are stil necessary, it's been much easier when the audio building blocks are sound. Also, I cheat and have found some folks with excellent tasts in how pieces asseble well. We'll collaborate, my products are better and they get courtesy tracks produced. My $0.02, YMMV, FWIW, IMHO, etc... Best Andy - Self taught, cyber instructructed pupil -- Jay Levitt | Wellesley, MA | Hi! Faster: jay at jay dot eff-em | Where are we going? http://www.jay.fm | Why am I in this handbasket? |
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#5
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In article writes: Several times now, I've completed a mix or tracking session, and the next day everything sounds completely different, and I notice flaws I hadn't noticed before, whether sonic or performance. What tricks have people developed over the years to counter this? Don't try to focus too closely on every little problem that you think you hear. Listen to what's happening overall. So oftem when you work on a mix one instrument at a time or one effect at a time you expose things that don't matter and would be hidden if you hadn't perfected something else that was already pretty darn good. Spend an hour mixing a song. If you can't get close enough to go to bed and like it the next day (but maybe hear a few things you'd like to tweak) then you just don't have a good take. There's not much you can do about that except do it again or start reconstructing it from the shards. -- I'm really Mike Rivers ) However, until the spam goes away or Hell freezes over, lots of IP addresses are blocked from this system. If you e-mail me and it bounces, use your secret decoder ring and reach me he double-m-eleven-double-zero at yahoo |
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#6
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#7
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In article ,
Jay Levitt wrote: Several times now, I've completed a mix or tracking session, and the next day everything sounds completely different, and I notice flaws I hadn't noticed before, whether sonic or performance. Some of this is due to ear fatigue, or pure inattention, but I'm hearing it even on short, simple sessions. I'm sure I'm not the first to experience this. At home, I try to never finalize a mix before sleeping on it, but at school, with rigidly enforced studio schedules, that's not an option. What tricks have people developed over the years to counter this? One thing I've discovered is leaving the room while the mix is playing and listening from the hallway. The details are obscured and you get an overall perspective on the mix. It's particularly revealing of the vocal level with respect to the rest of the mix. -Jay -- x------- Jay Kadis ------- x---- Jay's Attic Studio ------x x Lecturer, Audio Engineer x Dexter Records x x CCRMA, Stanford University x http://www.offbeats.com/ x x---------- http://ccrma.stanford.edu/~jay/ ------------x |
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#8
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Jay Levitt wrote:
Several times now, I've completed a mix or tracking session, and the next day everything sounds completely different, and I notice flaws I hadn't noticed before, whether sonic or performance. Some of this is due to ear fatigue, or pure inattention, but I'm hearing it even on short, simple sessions. I'm sure I'm not the first to experience this. At home, I try to never finalize a mix before sleeping on it, but at school, with rigidly enforced studio schedules, that's not an option. What tricks have people developed over the years to counter this? Extreme tolerance for the overwhelming guilt & shame that inevitably follows *not* having slept on a mix. |
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#9
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Some very good advice in the thread here. For me, I remember (and still listen to) all the music I grew up with. There were mistakes in alot of that stuff. But it was the overall whole feel of the session or take that was more important than note for note perfection. While there are people who strive for and accept nothing less, I find that such a "demand" can oftentimes kill the soul of the song. We are not machines and we should not strive to be machines. Sometimes a mistake is exactly what the song needs. When I produce sessions, I counsel the players to have fun and not forget what the whole point is: to share their creations with the rest of the world. If a take has a mistake in it, but the overall sound, performance and feel of the take is great, I might advise them to keep this take and move on to the next song, then come in the next day and do an alternate take of the song with the mistake. They have a chance to compare the two and hear for themselves the difference between a great take and a "perfect" take, with no mistakes. It's hard to make music "perfect". It is what we strive to do, but we must not lose sight of the realities of the performance. What are you going to do in concert if you make a mistake? Stop and start the song over again? No, you "gloss" over the mistake and keep going. Appreciative audiences may or may not have heard the mistake. Eric Johnson recorded Ah Via Musicom three times before he was satisfied. While it is technically a fantastic album, there are elements of the album that are "dry" and lacking. And I'm sure Mr. Johnson is still obsessing over a mistake or three he has heard since. We do the best we know how and we live with the results because we have to move forward in our progress as musicians and engineers or we will not grow. Growth is learning and in learning we will make mistakes that cannot or should not be corrected. We don't learn if we do everything right. --fletch Jay Levitt wrote: Several times now, I've completed a mix or tracking session, and the next day everything sounds completely different, and I notice flaws I hadn't noticed before, whether sonic or performance. Some of this is due to ear fatigue, or pure inattention, but I'm hearing it even on short, simple sessions. I'm sure I'm not the first to experience this. At home, I try to never finalize a mix before sleeping on it, but at school, with rigidly enforced studio schedules, that's not an option. What tricks have people developed over the years to counter this? |
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#10
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On 2/25/05 12:13 PM, in article , "Geoff
Arnold" wrote: We are not machines and we should not strive to be machines. Sometimes a mistake is exactly what the song needs. When I produce sessions, I counsel the players to have fun and not forget what the whole point is: to share their creations with the rest of the world. If a take has a mistake in it, but the overall sound, performance and feel of the take is great, Still my simple favorite here (and sure here it's a PLAYER issue not a MIX issue but the point stands) is the Stones' SATISFACTION and listening to how the foot-switch going from the verse clean-guitar tone gets to the FUZZ signature lick... and he ONLY gets it right ONCE out of three times: the First time. Second time he blows it LATE, and third time you can practically SEE him concentrating and cursing that he'll bloody well -NOT- miss it THIS time... And of course blows it EARLY. And for all that, the take overall IS indeed PERFECT. Like any successful magic illusion, Nobody notices. It's like the BLATANT screwups in the first STAR WARS film, things like actors bonking heads blindly into low doorways and after 3 decades nobody ever notices... |
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#11
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That's like I was listening to Son Volt's album "Trace" the other day
and a classical voice student walked in and said "wow, that singing is really out of tune". I then listened to it more closely and had to agree. But I never really noticed all that much....the songs are so well done otherwise...plus the out of tune lead vocal kind of works for that music. One person's "mistake" is another person's "thing" sometimes. Cheers, Trevor de Clercq John wrote: On 2/25/05 12:13 PM, in article , "Geoff Arnold" wrote: We are not machines and we should not strive to be machines. Sometimes a mistake is exactly what the song needs. When I produce sessions, I counsel the players to have fun and not forget what the whole point is: to share their creations with the rest of the world. If a take has a mistake in it, but the overall sound, performance and feel of the take is great, Still my simple favorite here (and sure here it's a PLAYER issue not a MIX issue but the point stands) is the Stones' SATISFACTION and listening to how the foot-switch going from the verse clean-guitar tone gets to the FUZZ signature lick... and he ONLY gets it right ONCE out of three times: the First time. Second time he blows it LATE, and third time you can practically SEE him concentrating and cursing that he'll bloody well -NOT- miss it THIS time... And of course blows it EARLY. And for all that, the take overall IS indeed PERFECT. Like any successful magic illusion, Nobody notices. It's like the BLATANT screwups in the first STAR WARS film, things like actors bonking heads blindly into low doorways and after 3 decades nobody ever notices... |
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#12
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I think another important issue is managing how loud you listen. Keep it al
low as possible until you need to bring it up to get that perspective, but remeber to bring it low again. Alot of what a mixer does can be done at low volumes and delay the inevitable ear fatigue that can contribute to the next day blues. Neil R "John" wrote in message ... On 2/25/05 12:13 PM, in article , "Geoff Arnold" wrote: We are not machines and we should not strive to be machines. Sometimes a mistake is exactly what the song needs. When I produce sessions, I counsel the players to have fun and not forget what the whole point is: to share their creations with the rest of the world. If a take has a mistake in it, but the overall sound, performance and feel of the take is great, Still my simple favorite here (and sure here it's a PLAYER issue not a MIX issue but the point stands) is the Stones' SATISFACTION and listening to how the foot-switch going from the verse clean-guitar tone gets to the FUZZ signature lick... and he ONLY gets it right ONCE out of three times: the First time. Second time he blows it LATE, and third time you can practically SEE him concentrating and cursing that he'll bloody well -NOT- miss it THIS time... And of course blows it EARLY. And for all that, the take overall IS indeed PERFECT. Like any successful magic illusion, Nobody notices. It's like the BLATANT screwups in the first STAR WARS film, things like actors bonking heads blindly into low doorways and after 3 decades nobody ever notices... |
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#13
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Jay Levitt wrote:
Several times now, I've completed a mix or tracking session, and the next day everything sounds completely different, and I notice flaws I hadn't noticed before, whether sonic or performance. Some of this is due to ear fatigue, or pure inattention, but I'm hearing it even on short, simple sessions. Don't forget that detailed audio memory is on the order of 50 milliseconds. Moreover, what you're experiencing is natural, kind of like looking for car keys that are right in front of us. Fifteen rounds of the room and all of a sudden there they are. I'm sure I'm not the first to experience this. At home, I try to never finalize a mix before sleeping on it, but at school, with rigidly enforced studio schedules, that's not an option. Working accurately under time constraints is a learned skill, and one of the major attributes distinguishing the amateur or beginner from a professional. With time and practice you will improve. What tricks have people developed over the years to counter this? No tricks. It's about understanding what you're hearing and developing a sense of what a piece of music really needs. It's easy enough to try this and that, especially nowadays; it's much harder to pinpoint what is wanted and carry it out successfully and quickly. So keep practicing, and perhaps make some notes about why you thought you did what you did while mixing, so that the next day when you don't appreciate what you did you can examine the process that got you there. -- ha |
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#14
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On Fri, 25 Feb 2005 07:25:31 -0800, Jay Kadis
wrote: In article , Jay Levitt wrote: Several times now, I've completed a mix or tracking session, and the next day everything sounds completely different, and I notice flaws I hadn't noticed before, whether sonic or performance. Some of this is due to ear fatigue, or pure inattention, but I'm hearing it even on short, simple sessions. I'm sure I'm not the first to experience this. At home, I try to never finalize a mix before sleeping on it, but at school, with rigidly enforced studio schedules, that's not an option. What tricks have people developed over the years to counter this? One thing I've discovered is leaving the room while the mix is playing and listening from the hallway. The details are obscured and you get an overall perspective on the mix. It's particularly revealing of the vocal level with respect to the rest of the mix. Yeah I like the down-the-hall perspective too. Also listening at a really quiet volume. Al |
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#15
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On Fri, 25 Feb 2005 07:25:31 -0800, Jay Kadis
wrote: One thing I've discovered is leaving the room while the mix is playing and listening from the hallway. The details are obscured and you get an overall perspective on the mix. It's particularly revealing of the vocal level with respect to the rest of the mix. I forgot about that one. I used to do this when I was producer and someone else was mixing. Right now I have Jay's syndrome. I am finally recording a wack of stuff I've written over the last 30 years and I am being the artist, composer, producer, arranger, and engineer in most cases. I am obsessed with correcting tiny timing and pitch problems when I should either hire someone else who can do it better and faster or spend more time practicing and playing rather than editing and tweaking. Aside from the extra cost of hiring another player for an album I haven't a clue how I will market, I really want the lead melody tracks to have my personality. This would be an insult to anyone I hired. I spend 12 hours a day on it day after day. There are loads of other players who sound great it's my parts I'm concerned with. I hope I finish this recording this next month, it's already about 6 months behind. |
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#16
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On Fri, 25 Feb 2005 09:13:14 -0800, Geoff Arnold
wrote: When I produce sessions, I counsel the players to have fun and not forget what the whole point is: to share their creations with the rest of the world. If a take has a mistake in it, but the overall sound, performance and feel of the take is great, I might advise them to keep this take and move on to the next song, then come in the next day and do an alternate take of the song with the mistake. Yup! I do this as well. I tell singers to smile when they're flat. I tell them it tightens their ebouchure and lifts the pitch, but in truth I think it makes them feel happy and sound less doubtful. I have attempted to remember this when recording my fiddle parts. It has helped a bit. The difficult thing is thinking! I've I could forget about engineering and producing I wouldn't have the internal voice going as I'm trying to track myself. |
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#17
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"Neil Rutman" wrote in message
I think another important issue is managing how loud you listen. Keep it al low as possible until you need to bring it up to get that perspective, but remeber to bring it low again. Alot of what a mixer does can be done at low volumes and delay the inevitable ear fatigue that can contribute to the next day blues. Agreed. It is a simple fact that the normal ear's ability to hear small differences goes down hill when the levels go above 75-85 dB. I found this out the hard way doing DBTs involving known but small audible differences. |
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#18
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#19
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On Sat, 26 Feb 2005 06:27:37 -0500, in rec.audio.pro "Arny Krueger"
wrote: "Neil Rutman" wrote in message I think another important issue is managing how loud you listen. Keep it al low as possible until you need to bring it up to get that perspective, but remeber to bring it low again. Alot of what a mixer does can be done at low volumes and delay the inevitable ear fatigue that can contribute to the next day blues. Agreed. It is a simple fact that the normal ear's ability to hear small differences goes down hill when the levels go above 75-85 dB. I found this out the hard way doing DBTs involving known but small audible differences. probably a bit OT, but how does this apply to mixing Dolby 5.1 stuff. Dolby insist that you line up monitors to 85dB. (BTW I dont mix stuff, I'm just a techie with a soldering iron, but I've done my time in broadcast studios, in the good old days) martin "An eye for an eye makes the whole world blind" Gandhi |
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#20
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In article psBTd.56690$wc.52693@trnddc07, "David Morgan \(MAMS\)"
says... Don't second guess yourself too much. Go for what feels right at the moment and remember... even on the most time consuming and well rehearsed mix, there will always remain a list of, "should have...," "could have...," and "why didn't I..." things that will come to the minds of the best mixers. Thanks for all the tips, everyone. I probably shouldn't have mentioned performance issues in the same breath. What spurred this was a mix I produced last Sunday morning. We had the studio booked for two hours, but left after about 90 minutes because we felt we couldn't significantly improve on it - certainly not long enough for ear fatigue. It was a simple rock tune - two guitars, bass, drums, and lead vocal, and it sounded good. Brought it to class the next morning, and it was just awful. The vocal was way, way too loud, almost ear-splitting at times, the guitars too low, the guitar tone too mellow. These aren't little "I wish I'd.." things, they're "my God, how did we call that good?" things, and they're on similar monitors (Tannoy System 12 vs 15). The mix engineer and I just looked at each other in puzzlement. And this isn't the first time it's happened to me... it's the audio equivalent of beer goggles, but I don't drink! Anyone else have that happen? Share your war stories... -- Jay Levitt | Wellesley, MA | I feel calm. I feel ready. I can only Faster: jay at jay dot fm | conclude that's because I don't have a http://www.jay.fm | full grasp of the situation. - Mark Adler |
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#21
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Jay Levitt wrote:
What spurred this was a mix I produced last Sunday morning. We had the studio booked for two hours, but left after about 90 minutes because we felt we couldn't significantly improve on it - certainly not long enough for ear fatigue. It was a simple rock tune - two guitars, bass, drums, and lead vocal, and it sounded good. Brought it to class the next morning, and it was just awful. The vocal was way, way too loud, almost ear-splitting at times, the guitars too low, the guitar tone too mellow. These aren't little "I wish I'd.." things, they're "my God, how did we call that good?" things, and they're on similar monitors (Tannoy System 12 vs 15). The mix engineer and I just looked at each other in puzzlement. And this isn't the first time it's happened to me... it's the audio equivalent of beer goggles, but I don't drink! Anyone else have that happen? Share your war stories... Do others routinely get nicely translatable mices from that room? -- ha |
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#22
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"Jay Levitt" wrote in message... Brought it to class the next morning, and it was just awful. The vocal was way, way too loud, almost ear-splitting at times, the guitars too low, the guitar tone too mellow. These aren't little "I wish I'd.." things, they're "my God, how did we call that good?" things, and they're on similar monitors (Tannoy System 12 vs 15). The mix engineer and I just looked at each other in puzzlement. And this isn't the first time it's happened to me... it's the audio equivalent of beer goggles, but I don't drink! This sounds like a very classic occurance. How about this one.... It was a hard rock mix and you went overboard with levels while mixing? Say, just a wee bit into the "let's rock" zone? It'll produce the symptoms you describe nearly every time.... Guitars too loud so they seem bright, or at least 'clear' at the time. Guitars seemed bright, so we needed more vocal. Smitten by volume. Another possibility... too much 'goose-me-make-me-loud' crappola strapped across the stereo mix? C'mon... tell me you ran it balls to the wall through an L-2 or something? DM |
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#23
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Jay Levitt wrote: Several times now, I've completed a mix or tracking session, and the next day everything sounds completely different, and I notice flaws I hadn't noticed before, whether sonic or performance. Some of this is due to ear fatigue, or pure inattention, but I'm hearing it even on short, simple sessions. I'm sure I'm not the first to experience this. At home, I try to never finalize a mix before sleeping on it, but at school, with rigidly enforced studio schedules, that's not an option. What tricks have people developed over the years to counter this? -- Jay Levitt | Wellesley, MA | Hi! Faster: jay at jay dot eff-em | Where are we going? http://www.jay.fm | Why am I in this handbasket? It sounds like a monitoring problem, maybe too loud, maybe too soft. There will always be some differneces when you listen in different enviorments. IS the class in the same studio that you mix in? There's a different type of monitoring problem, that has to do with listening. I'm going to oversimplfy, to make it easier to get the idea across. Listening as a producer is different than listening as and engineer. I deally everyone is listening both way, but listening as a producer is about artistic content and listening as an engineer is about sonics. I both producae and engineer and have found that as much as possible, I prefer to do my producer listening away from the console and even outside the studio (like home, not hallway). It's so easy to get distracted by the addiction fo the persuit of good sonics. So while what you're talking about could have a purely technical cause, what you're complaining about is an artistic complaint. Maybe involve an objective set of ears when you feel like you are 80-90% done. Or work for 60 minutes, leave teh studio for 15-20 to regain some perspecitve and then tweak. Once you hit the micro listening instead of the macro listening, it get be really hard to get back your perspective. |
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#25
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In article %oxUd.47803$uc.14374@trnddc08, "David Morgan \(MAMS\)"
says... How about this one.... It was a hard rock mix and you went overboard with levels while mixing? Say, just a wee bit into the "let's rock" zone? It'll produce the symptoms you describe nearly every time.... That's what's so weird... I actually tend to monitor overly low! At home, anything more than 75dB and my ears hurt. At school, I haven't calibrated, but I doubt it's much louder. Guitars too loud so they seem bright, or at least 'clear' at the time. Guitars seemed bright, so we needed more vocal. Smitten by volume. I think one of the problems is that towards the end, I strapped on an 1176 to thicken the vocal, but I didn't spend enough time afterwards rebalancing the vocal level. Another possibility... too much 'goose-me-make-me-loud' crappola strapped across the stereo mix? C'mon... tell me you ran it balls to the wall through an L-2 or something? Heh! No, absolutely nothing on the stereo bus - not even reverb (we did that through aux sends for the vocal and drums). I was going to take it home and master in WaveLab, so I left that alone, and then never got around to it before class... I think my ears just got up on the wrong side of bed that morning. Maybe I work better tired and over-caffeinated! -- Jay Levitt | Wellesley, MA | I feel calm. I feel ready. I can only Faster: jay at jay dot fm | conclude that's because I don't have a http://www.jay.fm | full grasp of the situation. - Mark Adler |
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#26
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"martin griffith" wrote in message
On Sat, 26 Feb 2005 06:27:37 -0500, in rec.audio.pro "Arny Krueger" wrote: "Neil Rutman" wrote in message I think another important issue is managing how loud you listen. Keep it al low as possible until you need to bring it up to get that perspective, but remeber to bring it low again. Alot of what a mixer does can be done at low volumes and delay the inevitable ear fatigue that can contribute to the next day blues. Agreed. It is a simple fact that the normal ear's ability to hear small differences goes down hill when the levels go above 75-85 dB. I found this out the hard way doing DBTs involving known but small audible differences. probably a bit OT, but how does this apply to mixing Dolby 5.1 stuff. Dolby insist that you line up monitors to 85dB. 85 dB peak levels (if that's what Dolby means) aren't that far outside the fact that the normal ear's ability to hear small differences goes down hill when the levels go above 75-85 dB. Most of the times the levels would be well below 85 dB and there just isn't any problem. |
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#27
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"Jay Levitt" wrote in message.... Maybe I work better tired and over-caffeinated! Oh well, I was just guessing... but those symptoms were all too familiar. Caffeine.... now that's a life saver! I have a western swing record (not odd for me) out on Western Jubilee that won a "Wrangler" award just weeks after it's release. In the liner notes, the artist acknowledges the amount of coffee we put into his record. ;-) Mmmmm, sweet Java. DM |
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#28
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In article T4MUd.45436$EL5.21765@trnddc05, "David Morgan \(MAMS\)"
says... Caffeine.... now that's a life saver! I have a western swing record (not odd for me) out on Western Jubilee that won a "Wrangler" award just weeks after it's release. In the liner notes, the artist acknowledges the amount of coffee we put into his record. ;-) Mmmmm, sweet Java. Then allow me to recommend www.theroastedbean.com... free shipping, great roasts, and cheaper than the beans at my Whole Foods. -- Jay Levitt | Wellesley, MA | I feel calm. I feel ready. I can only Faster: jay at jay dot fm | conclude that's because I don't have a http://www.jay.fm | full grasp of the situation. - Mark Adler |
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#29
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Jay, I think I just figured out what caused your "next day" problem: you
forgot to leave time to "break in" the mix before using it. You have to let it run for 24 hours before listening to it. -- "It CAN'T be too loud... some of the red lights aren't even on yet!" - Lorin David Schultz in the control room making even bad news sound good (Remove spamblock to reply) |
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#30
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"Lorin David Schultz" wrote in message news:NYOUd.21782$_G.2693@clgrps12... Jay, I think I just figured out what caused your "next day" problem: you forgot to leave time to "break in" the mix before using it. You have to let it run for 24 hours before listening to it. I think you're on to something here.... maybe Jay should also check the directional arrows on his speaker cables. A student might be playing a practical joke on him and the mix is really great - just some confused electrons because his cables have been reversed. DM |
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#31
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In article Q1SUd.35609$uc.1408@trnddc01, "David Morgan \(MAMS\)"
says... "Lorin David Schultz" wrote in message news:NYOUd.21782$_G.2693@clgrps12... Jay, I think I just figured out what caused your "next day" problem: you forgot to leave time to "break in" the mix before using it. You have to let it run for 24 hours before listening to it. I think you're on to something here.... maybe Jay should also check the directional arrows on his speaker cables. A student might be playing a practical joke on him and the mix is really great - just some confused electrons because his cables have been reversed. Don't be silly.. I outlined the track list with green marker, which should counteract either of those problems. -- Jay Levitt | Wellesley, MA | I feel calm. I feel ready. I can only Faster: jay at jay dot fm | conclude that's because I don't have a http://www.jay.fm | full grasp of the situation. - Mark Adler |
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#32
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More than one monitor source, even if it's going between speakers and
headphones. Finding a corelation of your rough mix to a decent car stereo or home audio system (taking it out of the studio) for another reference. Especially in regards to the amount of bass and low end can sometimes end up there. Using multi band frequency analyzer on stereo mix like in wavelab or other mastering prg. can sometimes point quickly to overloaded/underloaded problem areas. Good points about mixing too loud and ear fatigue, but I will usually treat myself to an loud mix last time around. db |
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