What's a good compressor/compression tip for drums and vocals in Pro Tools 11?
Compressors/Compression X Pro Tools
mercredi 1 avril 2015
Child diseases in PT12?
Ok. I can upgrade to pt12 for free.
Is it wise to do so or am I better off staying in 11.
Thinking there might be bugs in 12 that will be fixed later and it´s better to wait.
What are your experience on this from former upgrades?
Is it wise to do so or am I better off staying in 11.
Thinking there might be bugs in 12 that will be fixed later and it´s better to wait.
What are your experience on this from former upgrades?
Child diseases in PT12?
Curious about the busses and chains others use to mix down
So I've been into sound design and composition for quite a while now, prettymuch self taught, using lots of inspiration and practice to create my own taste of sounds and musicality, which has been a lot of fun and I'm finally starting to get quick and thorough enough to have some good material, and I'm starting to get my head more into mixing gear, specifically bussing and signal chains. I'm curious to hear how you electronic guys are doing your stuff.. I do (God I hate using genres to describe my stuff) kind of freestyle stuff influenced by lots of IDM, ambient, breakbeat, hip hop, and lofi music. Very 90s inspired. I'm setting up a 2bus chain and that is pretty self explanatory, as it's easy to imagine what works well on your 2bus, but I'm more interested in other busses commonly used, and I want to get any idea of what people process them through once they have their subgroups mixed down into stereo bus tracks?
First off, here is the bussing system I usually run:
-Drum Bus (with subgroups for each drum type, and a one with chopped breaks w/ sub-subgroups for characteristics and layers of the chops)
-Melodic (with subgroups for leads, backing keys such as chords and anything musical tonal played on a keyboard that sits behind in the mix, guitars, pianos, orchestral, and tonal vocals)
-Bass (synth bass, sub bass, bass guitar)
-Atmosphere ( atonal modular noises, pads that are not part of the melodic content, granular stuff/mangled samples, foley etc)
-FX (a buss where I keep all the recorded audio returns my sent fx, namely verbs/delays so I can level them all out and EQ them against eachother, then EQS the bus against the rest of the busses to make surgical EQS edits over the fx as a whole to help prevent conflicting with other sounds in the mix, and to make them sit properly)
This is seeming to work with my past couple projects, but I haven't found much discussion on what other producers are doing as far as their subgroups and main busses.
Also, once you are at the mixing point where your tracks and subgroups are all mixed down to busses, what are you using in the signal chains? As I mentioned before, master bus is easy to decide, and there are a lot of threads on drum bus chains, but what does your "synth" bus chain have in it for instance? I'd love to look over what your routing/bussing setups look like, which ones go out into bus processing chains, and what is in those chains (and why, if that's not being greedy!) so I can get an idea of how other producers work with this kind of stuff. You don't even have to be specific, you can just mention (off the top of my head) synth bus>Saturator>pultec type EQ>fet comp and that would be great! Even better actually, as I care much more about the type of processing you prefer, and less about the manufacturer and model of processor you stick it through.
First off, here is the bussing system I usually run:
-Drum Bus (with subgroups for each drum type, and a one with chopped breaks w/ sub-subgroups for characteristics and layers of the chops)
-Melodic (with subgroups for leads, backing keys such as chords and anything musical tonal played on a keyboard that sits behind in the mix, guitars, pianos, orchestral, and tonal vocals)
-Bass (synth bass, sub bass, bass guitar)
-Atmosphere ( atonal modular noises, pads that are not part of the melodic content, granular stuff/mangled samples, foley etc)
-FX (a buss where I keep all the recorded audio returns my sent fx, namely verbs/delays so I can level them all out and EQ them against eachother, then EQS the bus against the rest of the busses to make surgical EQS edits over the fx as a whole to help prevent conflicting with other sounds in the mix, and to make them sit properly)
This is seeming to work with my past couple projects, but I haven't found much discussion on what other producers are doing as far as their subgroups and main busses.
Also, once you are at the mixing point where your tracks and subgroups are all mixed down to busses, what are you using in the signal chains? As I mentioned before, master bus is easy to decide, and there are a lot of threads on drum bus chains, but what does your "synth" bus chain have in it for instance? I'd love to look over what your routing/bussing setups look like, which ones go out into bus processing chains, and what is in those chains (and why, if that's not being greedy!) so I can get an idea of how other producers work with this kind of stuff. You don't even have to be specific, you can just mention (off the top of my head) synth bus>Saturator>pultec type EQ>fet comp and that would be great! Even better actually, as I care much more about the type of processing you prefer, and less about the manufacturer and model of processor you stick it through.
Curious about the busses and chains others use to mix down
Stereo Link Compressors.
Hello
I have a Neumann 2 space Danner rack. I currently have only one BFE BKE4 compressor in it and a free space for another module. When I bought the compressor and the rack, the person was going to add a switch for stereo linking 2 BKE4's but he then said this was not possible as the BKE4 already had stereo linking. There does seen to be a stereo link switch. If I put in another BKE4 and flick that switch, do you think they will then link? Will the switch on each have to be switched? Will only one unit control both? On the back, there are only 2 sets of ins and outs, I assume I would take the left into from the 2 channel buss into one and a the right into the other and then the outputs back in to 2 inputs of the DAW? Are the signals combined internally back into stereo to be processed by the compressors?
Thanks for any help as I'm conduced trying to work out how to process stereo signals as opposed to dual mono or if I even can.
I have a Neumann 2 space Danner rack. I currently have only one BFE BKE4 compressor in it and a free space for another module. When I bought the compressor and the rack, the person was going to add a switch for stereo linking 2 BKE4's but he then said this was not possible as the BKE4 already had stereo linking. There does seen to be a stereo link switch. If I put in another BKE4 and flick that switch, do you think they will then link? Will the switch on each have to be switched? Will only one unit control both? On the back, there are only 2 sets of ins and outs, I assume I would take the left into from the 2 channel buss into one and a the right into the other and then the outputs back in to 2 inputs of the DAW? Are the signals combined internally back into stereo to be processed by the compressors?
Thanks for any help as I'm conduced trying to work out how to process stereo signals as opposed to dual mono or if I even can.
Stereo Link Compressors.
Class compliant USB host on synths
I've seen in the Parva Kickstarter video, that it has a class compliant USB host function. That is something i find very very useful in our times and think much more gear should have it.
External options are rather expensive for such a small thing:
Kenton MIDI USB Host = 120.- Euro
IMHO every new synth should have this funktion included, since more and more USB keyboards without MIDI jacks enter the market.
Please discuss pro and cons. yingyang
External options are rather expensive for such a small thing:
Kenton MIDI USB Host = 120.- Euro
IMHO every new synth should have this funktion included, since more and more USB keyboards without MIDI jacks enter the market.
Please discuss pro and cons. yingyang
Class compliant USB host on synths
Volume from Aux Out is extremely low?
I'm using the Mackie U.420 Audio Interface. I'm trying to run Aux Outs into my external sampler, the Sp 303. When I do this, the volume is extremely low and I have to turn all my volume up (both inside Windows and on the U.420). I've tried different cables, same thing. The other outs work perfect. Headphone outs are working and so are the main outs, which are going to my KRK Rokits. I have all my volume up, the lights are even flashing to let me know they're peaking and still all I hear is barely anything.
Here is some info on the Mackie U.420, if it helps.
Maximum Output Impedance:
Main Out= +15dBu
Aux Out= +15dBu
Output Impedance:
Main Out= 120?
Aux Out= 120?
Mackie - U.420
Here is some info on the Mackie U.420, if it helps.
Maximum Output Impedance:
Main Out= +15dBu
Aux Out= +15dBu
Output Impedance:
Main Out= 120?
Aux Out= 120?
Mackie - U.420
Volume from Aux Out is extremely low?
Purchased a Poorly Modded Oktava Mk 319?
Hey all! This is my first post, and to be honest, I really only came here because I couldn't think of any other place that could help.
On a very recent trip to San Fransisco I snagged a legit Oktava MK-319 at a pawn shop for $120 bucks after some negotiation and was pretty psyched.
I noticed right off the bat that the switches were not functional, that the diaphragm was missing the black cover (sorry, I'm not very knowledgable with technical terms). I did some research online, saw that these were common mods, and went ahead with the purchase. It looked just like the one on the right in this photo, ( http://ift.tt/1xWh7qQ ) except it still had the black cap on the bottom right above where you plug it in.
I took it to my buddy's and tested it out for our session we were working on when I got home and was shocked to hear that it had next to no low end. Obviously, I was expecting to hear the famous warmth of the MK-319, instead I got what sounded like an old radio recording. I'm thinking that the guy who modded it screwed something up when bypassing the switches.
Any ideas? I have no experience modding but I'm willing to do what I have to do to get this thing working properly.
Sorry if this is in the wrong place to post this!
On a very recent trip to San Fransisco I snagged a legit Oktava MK-319 at a pawn shop for $120 bucks after some negotiation and was pretty psyched.
I noticed right off the bat that the switches were not functional, that the diaphragm was missing the black cover (sorry, I'm not very knowledgable with technical terms). I did some research online, saw that these were common mods, and went ahead with the purchase. It looked just like the one on the right in this photo, ( http://ift.tt/1xWh7qQ ) except it still had the black cap on the bottom right above where you plug it in.
I took it to my buddy's and tested it out for our session we were working on when I got home and was shocked to hear that it had next to no low end. Obviously, I was expecting to hear the famous warmth of the MK-319, instead I got what sounded like an old radio recording. I'm thinking that the guy who modded it screwed something up when bypassing the switches.
Any ideas? I have no experience modding but I'm willing to do what I have to do to get this thing working properly.
Sorry if this is in the wrong place to post this!
Purchased a Poorly Modded Oktava Mk 319?
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